The Matrix Recalibrated
by Rohan2
Summary: Set 100 years into the uncertain future following REVOLUTIONS. The Matrix has reloaded and with this new version comes a new One and her trials will be greater than any before her. (FORMALLY "VERSION 7")
1. Antigone

OPEN: EXT-ROOFTOP, NIGHT: The night is dark and there is a steady snowfall. A young woman clad in a long red coat falls into frame. She spins around and whips out two large automatic weapons. This is ANTIGONE. A man in a dark suit wearing dark sunglasses This is AGENT JONES. He gracefully but ridgedly dodges the shots. Antigone empties the guns' magazine. The man ceases dodgeing and erects himself. He straightens his tie and smiles wryly. Antigone stammers to her feet. She looks at Jones and smiles a bloody smile. Jones is caught off guard by this brazen act of defiance.  
  
ANTOGONE  
  
Don't fuck with a human woman.  
  
JONES  
  
But human none the less.  
  
EXT-ROOFTOP: Antigone clenches her fists, as does Jones. They leap at eachother. Time slows down as they take their aims and throw their punches. Time resumes. Antigone and Jones fall out of the sky. They fight viciously. At one point, Jones punches Antigone in the face sending her sailing across the roof. Jones jumps for Antigone and grabs onto her throat. He hoists her over his head. She tries to kick him but is just out of reach.  
  
JONES  
  
Now, is this the point at which your typical human response of self preservation activates? No? Odd.   
  
ANTIGONE  
  
No. This is when I do this...  
  
EXT-ROOFTOP: Antigone throws her legs around Jones' neck and she shifts her weight. They both fall to the ground.  
  
Antigone kicks Jones in the face three hard times. She leaps into the air. Jones rolls over and pulls out a shiny black Walther P99.  
  
Right before Antigone leaves his sight, he fires five times at her. The bullets fly through the air and tear though her. She falls back down to the surface. A spit second before she impacts...  
  
CUT TO. INT-OFFICE CUBICAL: Antigone wakes suddenly from a dream. She is now dressed in plain looking officeware. She looks around the room wondering whether or not she is still dreaming. 


	2. Reality Is A Lie

At this moment, however, she is not Antigone, her given name is SARAH BURNS. A man in his mid thirties walks up to Sarah. He is a mildly attractive person wearing a cheap, grey business suit and his hair is less than coiffed. This is CHUCK ERICSON.   
  
CHUCK  
  
Hey Sarah.  
  
INT-OFFICE: Sarah doesn't hear him the first time for she is in a slight daze.  
  
CHUCK  
  
Sarah?  
  
SARAH  
  
Wha... Oh morning Chuck.  
  
CHUCK  
  
Actually, its evening.  
  
SARAH  
  
Word to the wise, never sleep in a cubical. Wicked bad stiff neck.  
  
CHUCK  
  
MMM, Well, nothing I can do.   
  
SARAH  
  
Chuck, tell me something.  
  
CHUCK  
  
What's that?  
  
SARAH  
  
How do you tell the differance between the dream world and the real world?  
  
CHUCK  
  
Sarah, could this wait until after tonight?  
  
SARAH  
  
What's tonight?  
  
CHUCK  
  
Drinks, you, me, Tammy and Jeff.  
  
SARAH  
  
Oh shit. Chuck, I'm sorry, I forgot.  
  
CHUCK  
  
Oh, fuck Sarah.  
  
SARAH  
  
Sorry. I've got something else going on.  
  
CHUCK (Quietly)  
  
I would have made a move tonight.  
  
SARAH  
  
Pardon?  
  
CHUCK  
  
Nothing.  
  
SARAH  
  
What?  
  
CHUCK  
  
I said nothing, have fun tonight.  
  
INT-OFFICE: Chuck leaves. Sarah pokes her head out of the cubicle.  
  
SARAH  
  
I said I'm sorry.  
  
CHUCK (shouting)  
  
I know!  
  
INT-OFFICE: Sarah recedes to her cubicle. She rests her head down on to her keyboard. She wakes up her computer which was still online. She looks at the screen. It shows a stock market report. She puts her head back down. The screen switches to black. Green text begins to appear. It reads, "Antigone. We know you, and you are not alone."  
  
Sarah looks up at the screen. She looks behind her to make sure that no one is coming up behind her. She goes back to the screen. She quickly types, "Who are you?"  
  
She waits about five seconds for the response, "I am the answer to the question that is your life."  
  
Sarah types, "What question?"  
  
Response is quick, "The question that drove all of us. What is The Matrix?  
  
Sarah looks flabbergasted as she types, "So, what is The Matrix?"  
  
"The Matrix is a lie. You want to know the truth?"  
  
"Yes."  
  
"Then risk everything. For The Matrix is beyond any explaination, you must see it for yourself. Can you take that plunge?"  
  
Sarah ponders her response. She finally comes up with, "Maybe."  
  
"Yes or no Antigone. Time is against us."  
  
The computer shuts down. Sarah is left with a bewildered look on her face.  
  
X-FADE TO.INT-APARTMENT, NIGHT: Sarah enters through a red door. This is her place. The apartment is medium in size and sparsely decorated. Over the door is a wooden plaque on which is written in Latin, "Know Thyself". Sarah looks at it with longing eyes.  
  
SARAH  
  
I wish I could.  
  
CUT TO.INT-BEDROOM, NIGHT: Sarah lays on her bed. She is waring black silk pants and a white tank top. She looks at the only piece of decoration in her room, a small picture of her family on her bedside table.   
  
X-FADE TO. EXT-SUBERBS, NIGHT, CHRISTMAS TIME: The house on the blocks are carbon copies of eachother. The only differances are in the Christmas lighting. Close on one front yard. Two children are playing in the snow. One is a girl of about five and the other is a boy of about eight. They are in the middle of a heated snowball fight, nothing serious, just innocent fun. The girl is SARAH and the boy is TIM.   
  
SARAH  
  
Hey Tim, give up?  
  
TIM  
  
Not on your life brat!  
  
EXT-YARD: Tim sneaks around behind Sarah. He takes aim. Sarah turns to see him. She bold up as he throws. She runs down the pathway in front of the house. She spins around to throw her snowball but looses her footing on the ice.   
  
She slips on to her back and smack her head. Tim rushes to her side.  
  
TIM  
  
Sarah!  
  
EXT-YARD: Sarah is lying on her back, no crying just moaning and muttering something.  
  
TIM  
  
Sarah you okay?  
  
SARAH  
  
Stars, I see stars.  
  
TIM  
  
What?  
  
SARAH  
  
Green stars. I see green stars.  
  
CUT TO. FIRST PERSON POV, SARAH: The world around her has changed. Now all she sees are streams of green code. Everything is code, the sky, snow, house even Tim.  
  
SARAH  
  
I see stars.  
  
X-FADE TO. INT-BEDROOM, NIGHT: Sarah is stirring in her bed she is muttering something.  
  
SARAH  
  
Stars, green stars.  
  
INT-BEDROOM: Sarah quietly, but suddenly wakes. She looks around the room. Nothing. She looks out the window over her head. Across the way in the building next door she can see men in dark suits filling every window. They are all staring at her through pairs of dark sunglasses. Sarah stands on her bed. She turns back into the room which has now filled with two dozen carbon copies of the men in the windows. One breaks from the group and move to her.  
  
MAN  
  
Do you know the story of Antigone? Essentially its about a woman who dies for what she belived in. You serve no purpose with a name like that.   
  
INT-BEDROOM: The man thrusts out his right arm into Sarah's abdomen.  
  
CUT TO: Sarah waking up in her room with a start. She franticlly looks around for the man in sunglasses, nothing. She jumps a little when the door buzzer goes off. She gets out of bed and heads for the door. She arrives and looks through a peep hole. Standing in the hallway are three leather clad people, two men and one woman. The men are CUTTER and NASH. The woman is JADA.  
  
JADA  
  
Come on! We know you're in there!  
  
SARAH  
  
I know you know! Gimmie a second.  
  
INT-APARTMENT: Sarah unlocks the door. She looks at the trio with a look of displeasure.  
  
SARAH  
  
Where were you?  
  
CUTTER  
  
Getting out stuff. Ready to go?  
  
SARAH  
  
Hold on.  
  
INT-APARTMENT: Sarah closes the door. She move to a closet and pulls out a pair of black shoes and a long black coat. She goes to a table and reaches under. She pulls out three black discs.  
  
CUT TO. INT-HALLWAY, NIGHT: Sarah closes the door and looks to the trio. She smiles.  
  
SARAH  
  
Alright, let's get this trainwreck moving. 


	3. The Boys

CUT TO. EXT-SIDEWALK, NIGHT: Sarah and company get into a dark green sedan. The engine revves up and it drives off.   
  
CUT TO. INT- OTHER CAR, NIGHT: This is a two seated muscle car. There are two men sitting. The driver is wearing a red coat and black suit underneith. He is of asian decent, his name is WOO. The passenger is wearing a black suit with a red tie under a long black coat. He is talking on a cell phone. This is HEMMINGTON.  
  
HEMMINGTON (into phone)  
  
You're sure there won't be any trouble? Good. Well, they're on their way now, we'll follow.  
  
INT-CAR: Hemmington hangs up.  
  
WOO  
  
Wha'd he say?  
  
HEMMINGTON  
  
To only expect what we usually expect.  
  
WOO  
  
Trouble.  
  
HEMMINGTON  
  
Only if you're expecting it. Come on or we'll loose them.  
  
INT-CAR: Woo starts the engine. They begin to move.  
  
WOO  
  
You sure about her?  
  
HEMMINGTON  
  
How do you mean?  
  
WOO  
  
What do think I mean?  
  
HEMMINGTON  
  
Experience has taught me never to assume anything.  
  
WOO  
  
Well I tend to assume,  
  
HEMMINGTON  
  
And you take every chance to point that out.  
  
WOO  
  
And I assume that this is a royal waste of our time.  
  
HEMMINGTON  
  
Waste not want not.  
  
WOO  
  
Well I want you to be right about this, but I can't see how.  
  
HEMMINGTON  
  
Why not?  
  
WOO  
  
She's a woman. As the archrives will tell you The One has always been a man.  
  
HEMMINGTON  
  
But something changed in the sixth conversion. I don't know what, but I do know that I am right. She is The One.  
  
WOO  
  
We're coming up to it. Ready?  
  
HEMMINGTON  
  
Always am.  
  
INT-CAR: Hemmington pulls open his coat to show Woo that he has six pistols wrapped around the front part of his belt and two small automatic weapons under each arm.  
  
HEMMINGTON  
  
How bout' you?  
  
INT-CAR: Woo just smiles. 


	4. Men In Black

CUT TO. INT-BAR ROOM, NIGHT: Sarah and her friends walk in. They proceed past the bar. Sarah nods to the bartender, he nods back. The bartender pulls out a pair of keys. He looks to another tender.  
  
BARTENDER  
  
Take over for a second I'll be right back.  
  
BARTENDER #2  
  
Sure.  
  
INT-BAR ROOM: The bartender escorts Sarah and company to a small room full of kegs behind the bar. Sarah looks to the Bartender.  
  
SARAH  
  
So, who's all here?  
  
BARTENDER  
  
Uh, I think just about everyone. Oh, no. Richie's not. Actually, I haven't seen him in a while.  
  
CUTTER  
  
Disappeared off the map huh?  
  
BARTENDER  
  
Guess so.  
  
SARAH  
  
Maybe he got out.  
  
JADA  
  
What?  
  
SARAH  
  
Nothing.  
  
CUT TO. EXT-ALLYWAY, NIGHT: A black car slowly rounds a corner. It comes to a graceful stop behind the bar that Sarah is in. Three men in black suits get out. They are also wearing dark sunglasses. Their expressions are cold and stoic. They stand in a line beside eachother.  
  
In the middle is AGENT JONES. On his left is AGENT BROWN. On Jones' right is AGENT JOHNSON.  
  
JONES  
  
Are they inside?  
  
BROWN  
  
Yes they are.  
  
JOHNSON  
  
Do we proceed?  
  
JONES  
  
Yes. They're only human.  
  
EXT-ALLYWAY: The three agents move towards the bar.  
  
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo have just gotten on the roof from a ladder. Hemmington's phone rings.  
  
CUT TO. EXT-ALLYWAY, NIGHT: The agents react to a faint phone ring. They look to eachother. Then they all look up. Jones looks to the other two.  
  
JONES  
  
Take them.  
  
EXT-ALLYWAY: Johnson and Brown nod. They begin to climb a nearby ladder.  
  
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington has answered the phone.  
  
HEMMINGTON  
  
Yeah?  
  
(V.O)  
  
Agents sir. Three of em'. Two headed your way, a third going into the bar.  
  
HEMMINGTON  
  
Fuckn' hell.  
  
WOO  
  
What?  
  
HEMMINGTON  
  
Trouble. That's what. (into phone) Where are they now?  
  
EXT-ROOFTOP: At that moment, Johnson and Brown appear right in front of Woo and Hemmington.  
  
(V.O)  
  
They should be right there sir.  
  
HEMMINGTON (into phone)  
  
Thank you David. I have to go now.  
  
EXT-ROOFTOP: Hemmington hang up the phone. He draws his automatics. Woo reaches behind himself and pulls out a pair of katanas. The agents draw one Walther P99 each.  
  
HEMMINGTON  
  
Let's dance. 


	5. The Dark Room

CUT TO. INT-BASEMENT: The Bartender, Sarah and company enter the large room via a wooden staircase. In the centre of this room are a series of tables upon which are computers. Connected to the computers are large cables connected to the ceiling. In the room are seven people, four men and three women.   
  
The men are of varying ethinicities, as are the women. The man nearest to Sarah is an Asian man named CHAZ. The other men are STEVEN, MICHAEL, and NIKOLI. The woman nearest Sarah is called WENDY. The other two are MANDY and ISMANE. The Bartender looks to Sarah.  
  
BARTENDER  
  
I gotta go. Don't do anything too stupid.  
  
ISMANE  
  
Come on, you know us.  
  
INT-BASEMENT: The Bartender looks dismayed as he ascends the staircase. Sarah looks to the group.  
  
SARAH  
  
So, what's new?  
  
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo circle the Agents. The Agents keep eye contact with them. Woo gnashes his teeth. He stares down Johnson. Johnson smiles artificially. Hemmington takes aim. Brown takes aim. The Agents fire. Time briefly slows down as we see Woo and Hemmington dodge a couple of bullets. Time resumes. The Agents look a little confused.  
  
BROWN  
  
We require upgrades.  
  
JOHNSON  
  
Yes we do.  
  
EXT-ROOFTOP: Woo moves towards Johnson. Hemmington opens fire on Brown.  
  
Woo wields the swords wildly. Johnson carefully dodges the blades. Hemmington's gun attack is unrelenting, nevertheless, Brown dodges each round. However, one of Hemmington's rounds makes its way past Brown and into Johnson's shoulder. Johnson's expression quickly changes from smugness to suprise. He inspects the wound. He seems satisfied that he will be able to fight. Hemmington's guns run empty. Brown smiles. Hemmington and Brown begin to fight as Woo and Johnson begin their brawl.  
  
CUT TO. INT-KITCHEN, BAR: Jones walks into the kitchen from outside. He scans the room briefly then continues through.   
  
CUT TO. INT-BAR ROOM, NIGHT: Jones enters the room that Sarah and company had been through. The Bartender notices Jones and moves to him.  
  
BARTENDER  
  
Evening sir, can I help you?  
  
JONES  
  
Maybe. Did you, tonight, happen to see a small group of people move through here?  
  
BARTENDER  
  
I see a lot of people come through.  
  
JONES  
  
I should be more percise. Did you see two men and two women wearing dark clothing pass through here?  
  
BARTENDER  
  
I see a lot of people wearing a lot of different thing pass through here.  
  
JONES  
  
I was tracking them, one in particular. They entered here. Then we, I, lost track of them.  
  
BARTENDER  
  
I don't know what you're talking about sir.  
  
JONES  
  
Let's stop playing around. I know what you are and I know you are hiding them, therefore, in the spirit of good will I will forgo your destruction in exchange for information.  
  
CUT TO. EXT-ROOFTOP, NIGHT: Woo and Hemmington are thrown against a wall. They make huge dents before they fall. They are both bruised and bleeding. Johnson and Brown, however, are faring far better. They stand over the men unfettered and ready for more. The Agents reach down and take the men by the throats. They lift them into the air. The Agents begin to squeeze. Just before they are killed, the Agents touch their earpieces.  
  
CUT TO. CLOSE ON JONES' MOUTH: He is speaking.  
  
JONES  
  
They are irrelevant. We have aquisition of our primary target. You are required here.  
  
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo are released. They fall to the ground coughing. Johnson and Brown turn around and head to the ladder. Hemmington and Woo gather their strength and move to the ledge. They look over the edge. A whole pricinct of police pull up in front of the building.  
  
HEMMINGTON  
  
Oh shit.  
  
WOO  
  
What will we do?  
  
HEMMINGTON  
  
Whatever we can.  
  
WOO  
  
What can we do?  
  
HEMMINGTON  
  
I wish I knew.  
  
EXT-ROOFTOP: Hemmington and Woo walk out of frame.  
  
CUT TO. INT-BAR ROOM, NIGHT: Johnson and Brown appear next to Jones. A whole SWAT team is standing behind them.  
  
JONES  
  
They are in the basement.  
  
JOHNSON  
  
Do we proceed?  
  
JONES  
  
Soon. We just need to receive word from The Source.  
  
CUT TO. INT-BASEMENT, NIGHT: Sarah is seated at a terminal. She appears to be hacking away at some kind of digital defence systems. Her hands are moving faster than she can think. She comes to a screen that reads, "Execute? Y or N." She suddenly stops. She leans closer to the screen. In the screen she can see some of the pixels moving from top to bottom. She leans even closer. She sees what looks like to her as the code she once saw as a child. Cutter comes up behind her.  
  
CUTTER  
  
Having fun?  
  
INT-BASEMENT: Sarah snaps out of her little trance. She looks to Cutter.  
  
SARAH  
  
Uh, yeah. I just gotta get past the firewall then I'm on the express elevator to Hell.  
  
CUTTER  
  
Cool. Well, have fun with that.  
  
INT-BASEMENT: Sarah smiles as Cutter walk away. Sarah begins to look concerned. She cautiously logs off the computer.  
  
CUT TO. INT-BAR ROOM, NIGHT: Jones puts his hand to his earpiece.  
  
JONES  
  
We have the go.  
  
INT-BAR ROOM: The Agents draw their weapons, shiny black Walther P99's.  
  
CUT TO. INT-BASEMENT: The group is stunned when the Agents burst through the door and come down the stairs. Cutter and Jada pull out guns of their own. Jones shoots Cutter in the head and Jada keeps her aim. The other Agents take aim.  
  
JONES  
  
Put down your weapon or end up like him.  
  
INT-BASEMENT: Jada is in near tears, but she keeps her aim.  
  
JONES  
  
You mean as much to me as he did. I do, however, believe that your sense of self preservation will activate and you will lower your weapon out of fear of your death. For the last time, put it down.  
  
INT-BASEMENT: Jada keeps her aim. Jones coldly shoots her in the head. Jada dies. Jones takes aim on the whole group.  
  
JONES  
  
Now, I would like to know where I may find a young woman you call Antigone.  
  
CUT TO. EXT-ALLYWAY, NIGHT: Sarah enters the ally via a pair of celler doors. She gets to street level and begins to run. The phone rings. She gets her phone out and puts it to her ear.  
  
SARAH  
  
Wha...  
  
HEMMINGTON (V.O)  
  
Don't talk, just listen. Thi line is traceable so I'll be brief.  
  
CUT TO. INT-BASEMENT: Jones puts his hand to his earpiece.  
  
JONES  
  
She's on the street.  
  
INT-BASEMENT: The Agents leave. As they do, we see that everyone in the room has been shot in the head.  
  
CUT TO. EXT-STREET, NIGHT: Sarah is walking at a brisk pace down the street.  
  
SARAH  
  
How the hell did I know those assholes would be down there?  
  
HEMMINGTON (V.O)  
  
We will find out soon enough. If you want to know the truth, you have to trust me. Across the street, Rikki's Play Pen, go in.  
  
EXT-STREET: Sarah J-walks across the street. She sees the place that Hemmington told her about. She goes in. Camera makes a quick pan to The Agents. They have entered the street level. The Agents all put their hands to their earpieces when Sarah goes into Rikki's.  
  
JONES  
  
The signal has weakened.  
  
JOHNSON  
  
She must have entered another protected zone.  
  
BROWN  
  
Where is the nearest one.  
  
EXT-STEET: Jones looks up at Rikki's. He smiles as he begins to   
  
J-walk.  
  
CUT TO. INT- RIKKI'S PLAY PEN, NIGHT: This is one of those dark, techno rave clubs. Strobes, pounding music, ectasy, dreadlocks, dancing, lazer lights. Anything and everything that one could imagine is in this club. Sarah gets to the booth when a large, burly man stops her.  
  
MAN  
  
Twenty bucks.  
  
INT-CLUB: Sarah fumbles through her pockets looking for some money. She find a $100 dollar bill. She hands the man the money.  
  
SARAH  
  
Keep the change.  
  
INT-CLUB: Sarah goes down a small flight of stairs to reach the floor. The place is built like a dingy basement to reflect the club goers. Though Sarah looks the part, she sticks out like a sore thumb as she mills throough the people. She puts the phone to her ear.  
  
SARAH  
  
Now what?  
  
INT-CLUB: Sarah is spun around by a hand that grabs her shoulder. It is Agent Jones. Brown and Johnson are standing beside him.   
  
JONES  
  
Now you come with us Ms. Burns.  
  
INT-CLUB: Sarah tries to fight them off but they are much to powerful and take her hits with impunity. They drag her away. As this is happening Sarah drops the phone.  
  
CUT TO. EXT-STREET, NIGHT: Hemmington reacts to the phone being disconnected. Woo looks to him.  
  
WOO  
  
She hung up?  
  
HEMMINGTON  
  
Yeah.  
  
EXT-STREET: Woo looks at the club.  
  
WOO  
  
I think I may know why.  
  
EXT-STREET: Hemmington looks at the club. He sees Sarah being taken out to a car by the Agents.  
  
HEMMINGTON  
  
Fuckn' hell.  
  
WOO  
  
Don't worry sir. I wouldn't think they'd kill her.  
  
HEMMINGTON  
  
Why?  
  
WOO  
  
Because they don't know what you claim to know.  
  
EXT-STREET: Hemmington looks to a telephone booth. He and Woo walk to it. Hemmington picks up.  
  
CUT TO. INT-DARK ROOM: There is a single grey chair lit from an over head light source. Sarah is thrown into the chair. She squints to see her kidnappers. All she can see are the pale outlines of the Agents.  
  
JONES  
  
Please state your name for our records.  
  
SARAH  
  
Fuck off!  
  
JONES  
  
Fine. We'll get right to it then.  
  
INT-DARK ROOM: A large portfolio is thown onto Sarah's lap.  
  
SARAH  
  
What the hell's this?  
  
JONES  
  
Its you. Your life. Play by play in paper. All your triumphs, trangressions and failures. Family history: Mother, dead of cancer. Father: unknown. Siblings: one brother, Timothey Burns. residence; in metro.  
  
SARAH  
  
Alright fine you've made your point. What the fuck do you want with me?  
  
JONES  
  
We also know that through the length of your adolescent years and the bulk of your adult years you have been involved with an underground of cyber-terrorists.  
  
SARAH  
  
I don't know what you're talking about.  
  
JONES  
  
No, wrong answer. You do know. You know exactly what we're talking about. Do not forget, we know you.  
  
INT-DARK ROOM: Sarah sits silently. Jones moves into the light, close to her face. He takes off his glasses.  
  
JONES  
  
Seems that I've hit a nerve. We also know that you have been contacted by another member of this underground. A leader of another cell. His name is Hemmington. What you know of him is but a fragment of what we know. He's a killer Sarah. He killed an entire lobby full of people, women, chil...  
  
SARAH  
  
Shut the fuck up.  
  
JONES  
  
And all we want from you is information. Give us what we want and we will do for you what you need.  
  
SARAH  
  
What do I need?  
  
JONES  
  
A morally and legally clean slate.  
  
INT-DARK ROOM: Sarah is pondering the situation. She looks up at Jones and whispers something inaudable. Jones leans in meanacingly. Sarah launches out and bites into his ear. Jones tears away, missing a chunk of flesh. Sarah spits out the flesh.  
  
SARAH  
  
And that's my final answer.  
  
INT-DARK ROOM: Jones gets to his feet and regains his composure. Blood is spilling from his head on to his shirt and suit. He motions the other Agents to act. They pull Sarah out of her chair and on to the floor.  
  
JONES  
  
You won't be doing that again.  
  
INT-DARK ROOM: The camera angles on Sarah. She is missing her mouth. Noises and shouts are muffled by the flesh now covering her mouth. Jones reaches into his pocket and pulls out a small, metallic probe. Johnson turns Sarah's head over so her left ear is facing Jones. He puts the probe in contact with her ear. The probe lights up and becomes like a small drill. The machine begins to drill into her ear when...  
  
CUT TO. INT-OFFICE, DAY: Sarah wakes with a start. She puts her hand to her ear. Nothing. Chuck Ericson walks up to Sarah's cubicle. She is wearing the same garments as she did before. As is Chuck.  
  
CHUCK  
  
Hey Sarah.  
  
INT-CUBICLE: Sarah looks around in a daze.  
  
CHUCK  
  
Sarah?  
  
INT-CUBICLE: Sarah looks to Chuck.  
  
SARAH  
  
Oh, morning Chuck.  
  
CHUCK  
  
Actually its...  
  
SARAH  
  
...Evening.  
  
CHUCK  
  
Yeah.  
  
SARAH  
  
Deja Vu.  
  
CHUCK  
  
Ahhh.  
  
INT-CUBICLE: A muffled phone rings. Chuck checks his pockets. he takes out his phone.  
  
CHUCK  
  
Hello?  
  
INT-CUBICLE: Chuck looks a little confused. he hands Sarah the phone.  
  
CHUCK  
  
It's for you.  
  
  
  
INT-CUBICLE: Sarah takes the phone.  
  
SARAH  
  
Hello?  
  
HEMMINGTON(V.O)  
  
Do what I say for your own good. Get out of that building right now and go home.  
  
INT-CUBICLE: The line goes dead. Sarah gets up to leave.   
  
SARAH  
  
Have fun tonight Chuck.  
  
CHUCK  
  
Uh, thanks.  
  
INT-OFFICE: Sarah leaves. 


	6. Welcome To The Real World

CUT TO. EXT-STREET, EVENING: people are flooding the sidewalks during rush hour. People on phones, walking with their kids, flagging down cabs etc... The orange sunlight is extreamly contrasting to the drab, grey/greenish tones of the city. Sarah steps on to the sidewalk. Sarah heads for a subway station.  
  
CUT TO. INT-SUBWAY STATION: The place is crowded. People are behaving like misers while trying to get on a train. Sarah spends a little while in a line up to deposit her tokens. She passes through the gate. She heads down some stairs on to the platform. Many people wait for the train. They all stare down the tunnel as though they were looking for their ticket out of hell. The train finally arrives. Sarah is caught in the exodus of people leaving the train and entering the train. She makes it on right before the doors shut. She takes a standing position and hangs on to a pole. She looks at the blank expessions of those on board. Her eyes take her to a very tall man sitting. His hair is long, grey and dirty. His clothes reflect a hard life on the street. he looks up at Sarah, almost with an expression of reckoning. The train stops. Sarah leaves. She now stands on the platform, looking in at the man. He is standing now, looking back at her as the train leaves.  
  
CUT TO. EXT-APARMENT COMPLEX, NIGHT: A taxi pulls up. Sarah pays the fare and gets out. She walks up the steps to her apartment. An older, African American woman walks by. The woman stops and looks at Sarah. Sarah does not see the woman. She enters the building.  
  
The old woman smiles.  
  
WOMAN  
  
It's about time.  
  
CUT TO. INT-APARTMENT, NIGHT: Sarah enters the place. The lights are out. Sarah gets a feeling of unease. She goes to turn on the lights. A young woman's hand flies out fom the dark and latched on to Sarah. A man comes up behind her and covers her mouth. The woman steps out from the shadows. This is HELENA. She wears a dark brown, leather pant suit and matching coloured sunglasses. The man holding Sarah is none other than Woo. Helena pulls out a strange looking helmet. She puts the helmet on Sarah. She activates a small green button. Two electric bolts fire out of the helmet into Sarah's ears. Sarah screams in pain. A small trickle of blood comes out of her ear followed by the robotic probe the Agents put in her. The probe falls to the floor and Helena takes the helmet off Sarah.  
  
HELENA  
  
Sorry about that. We couldn't say anything or they'd hear us.   
  
WOO  
  
We'd better get on our way.  
  
SARAH  
  
FUCK YOU!!!  
  
HELENA  
  
Listen to us, if you want to know what we know about the world, you'll come with us.  
  
SARAH  
  
And what the fuck do you know about the world?!  
  
WOO  
  
A lot more than you. Come on.  
  
INT-APARTMENT: Woo and Helena leave. Sarah is hesitent to follow. Helena motions Sarah to come. She eventually does.  
  
CUT TO. EXT-ALLYWAY, NIGHT: The Agents enter the ally through a black door that leads to a white hallway. The Agents are slightly different. Their glasses are more articulated and their tie clips are now gold rather than silver.  
  
JONES  
  
Upgrades compleated.  
  
JOHNSON  
  
Directive acknowedged?  
  
BROWN  
  
Yes.  
  
JONES  
  
The probe has been disabled.  
  
BROWN  
  
Contact has been lost?  
  
JOHNSON  
  
Yes.  
  
JONES  
  
Not for long. They will try to get her out. The nearest exit to her place of residence it not far.  
  
EXT-ALLYWAY: The Agents walk to a nearby car and get in. The engine revves up and they drive off.  
  
CUT TO. EXT-BUILDING, NIGHT: The snow has just begun to fall as a car pulls up in front of the building.   
  
Sarah, Helena and Woo get out.  
  
CUT TO. INT-HALLWAY, NIGHT: Sarah, Helena and Woo walk up to a door. The door has a large, burly man in a black suit coupled with a red shirt and black tie. He also bares a pair of dark sunglasses. This is NASH.  
  
NASH  
  
So, this is Antigone.   
  
SARAH  
  
How did you know that?  
  
WOO  
  
There is very little we don't know about you.  
  
NASH  
  
Come on in, he's waiting.  
  
SARAH  
  
Who is?  
  
NASH  
  
The answer to your questions.  
  
INT-HALLWAY: Nash opens the doors. Sarah, Helena and Woo enter.  
  
The doors close. Seated in a large, red, leather chair is Hemmington. He has in his hand a small glass of Scotch Whiskey.  
  
HEMMINGTON  
  
Care for?  
  
SARAH  
  
Actually yes. At this point I could go for a keg.  
  
HEMMINGTON  
  
We've all been there Antigone.  
  
INT-APARTMENT: Hemmington pours Sarah a glass. He hands it to her.  
  
HEMMINGTON  
  
Alright. First things first. I need to hear from your lips your reasons for being here tonight.  
  
INT-APARTMENT: Sarah swallows hard. She ponders her resopnse.  
  
SARAH  
  
Well, I uh...  
  
HEMMINGTON  
  
It's very normal to be confused. I myself was scared shitless at the thought of understanding the truth.  
  
SARAH  
  
Okay, there's a good place to start, the truth. What is "the truth"?  
  
HEMMINGTON  
  
You're asking me the wrong question.  
  
SARAH  
  
Fine. What is The Matrix?  
  
HEMMINGTON  
  
In a nutshell, The Matrix is the best told lie in the history of lies. You are drinking The Matrix, breathing it, smelling it, touching it.  
  
SARAH  
  
I'm not following you.  
  
HEMMINGTON  
  
That's okay. Until you see The Matrix for yourself, you'll never be able to comprehend any explaination I can provide.  
  
SARAH  
  
I have to see it then?  
  
HEMMINGTON  
  
Only if you belive you're stong enough to handle the truth.  
  
SARAH  
  
I think I am.  
  
HEMMINGTON  
  
You must be absolved of any doubt. You have to be 100% sure.  
  
INT-APRATMENT: Sarah is close to having another drink. The glass touches her lips, but she does not drink. She puts the glass down.  
  
SARAH  
  
I am.  
  
HEMMINGTON  
  
Now comes the moment of choice. Your last chance.  
  
INT-APARTMENT: Hemmington takes out a small metal case. He opens it and shows it to Sarah. In it are two small gel-cap pills, one red the other blue.  
  
HEMMINGTON  
  
Okay, this is when it gets scrary. The red pill; yes to the truth.  
  
The blue pill; no.  
  
INT-APARTMENT: Sarah considers her options. Then her hand moves to the red pill. She is close to taking it when,  
  
HEMMINGTON  
  
Remember, all I'm offering is the truth, nothing more.  
  
INT-APARTMENT: Sarah takes the pill. She chases it with the rest of her Whiskey. She and Hemmington stand.  
  
HEMMINGTON  
  
Welcome to the first day of freedom.  
  
INT-APARTMENT: Hemmington opens a pair of doors. There is a large wash of white light. The following speech is to be put with a series of images of Sarah waking from her pod, machines, the power plant, falling into water etc...  
  
HEMMINGTON  
  
Everyone has a reason to exist. It is, however, freedom which allows one the means through which one may live out that reason. Freedom. Freedom is all we wish for our people. Freedom is our only reason to exist, to do what we do. Freedom is what you, Antigone, will finally acheave for us. You are The One.  
  
X-FADE TO. INT-INFERMARY, THE REAL WORLD: Sarah is lying on her back. She is totally hairless, eyebrows, eyelashes, head hair, everything. She is covered in a silver blanket. Her eyes slowly open. Around her are standing, Hemmington, Woo and Helena. There are also four more people, JACKIE, TURKISH, MICK and ANDREW. They all look different from what Sarah remembers. They are now dressed in old, unkemped clothing. They all look as though they may need a shower. However, Sarah feels no malice form any of them. She tries to speak, but her jaw muscles barely move.  
  
SARAH  
  
Where am I?  
  
HEMMINGTON  
  
The one place we should all be, the Real World.  
  
SARAH  
  
Wha...  
  
HEMMINGTON  
  
Take it easy, I'll explain everthing in due course.  
  
INT-INFERMARY: Sarah falls asleep.  
  
INT-VESSEL CABIN, FOUR DAYS LATER: Sarah is awoken with a jolt. She springs up. She has now grown eyebrows and some hair. She looks herself over. She is shocked to find herself covered in some form of electrical outlets. She feels the back of her head and finds a much larger outlet there also. She looks at the clothes she is wearing. They are much like the clothing of the crew, tattered, unkemped coveralls. She stands and moves to a small, circular window. Outside is a massive tunnel covered in old metal scraps, secondary pipes and steam vents.  
  
CUT TO. INT-CORRIDOR: A door opens. Sarah enters the cramped hallway. She makes her way to a large room with three computer consoles. There is a man sitting at the computers. He turns slightly, the man is Turkish. He is a tall man, well built. He, however, bears a large scar on his left cheek and an artificial right hand. It seens to be robotic because it has the motions of any real hand. Turkish turns back to his work without seeing Sarah. She looks at the moniters. On them are long streams of green code, the same code she saw when she was young. Sarah stammers back a little. She trips over another chair. The noise gets Turkish's attention. He spins around and stands up. Sarah awkwardly gets to her feet. She begins to run very slowly. Yurkish needs only to walk quickly to catch up to her.   
  
He grabs hold of her wrists. She tries to fight him off but is to tired to do anything. Turkish makes no attempt of be fearsome. He insted smiles, almost lovingly.  
  
TURKISH  
  
Good morning, sleepyhead.  
  
INT-CONTROL ROOM: Sarah collapses in Turkish's arms.  
  
CUT TO. INT-INFERMARY: Sarah wakes on the table. She is once again surrounded by everyone, Helena, Woo, Turkish, Mick, Andrew, Jackie and Hemmington. Sarah slowly sits up.  
  
HEMMINGTON  
  
Hi there.  
  
SARAH  
  
What's happened to me.  
  
HEMMINGTON  
  
You wanted to know the truth. This is where one comes to understand it.  
  
SARAH  
  
So, where is this place.  
  
HEMMINGTON  
  
I think I might be better off showing you.  
  
CUT TO. INT-CONTROL ROOM: There are about ten reclining "dentist chairs" all in a circle. Each of which has a number of bio-readouts attached. They also have these dangerous looking plugs with long metal spears, about ten centimetres in length. Hemmington motions Sarah to sit. She takes a deep breath and does.  
  
Turkish places her feet on a pair of foot rests then locks them in.  
  
Hemmington takes the plug in his hand. He gives a reassuring smile.  
  
HEMMINGTON  
  
Its okay. Its actually kind of a rush.  
  
INT-CONTROL ROOM: Hemmington shoves the plug into the outlet in Sarah's head. She gasps in shock. Turkish presses a few buttons.  
  
CUT TO. EXT-CITY, DAY: Sarah is standing in the middle of the street. She is now dressed in a black pants suit. Her hair has fully regrown and is tied in a long ponytail. The streets are totally empty. No cars, people, sounds, nothing.  
  
HEMMINGTON  
  
Seems real doesn't it?  
  
EXT-CITY: Hemmington is now standing about 100 feet away from Sarah down the street. They begin to walk towards eachother.  
  
SARAH  
  
It isn't?  
  
HEMMINGTON  
  
I don't know. Maybe, maybe not. How would one describe what reality is anyway?  
  
SARAH  
  
Good question.  
  
HEMMINGTON  
  
Well, leaving the nature of reality aside, this is not "real". I'll explain.  
  
EXT-CITY: They meet and walk towards a television store.  
  
  
  
HEMMINGTON  
  
Like your clothes?  
  
SARAH  
  
Not bad.  
  
HEMMINGTON  
  
And your hair?  
  
SARAH  
  
What are you getting at?  
  
HEMMINGTON  
  
That you are not Sarah Burns. You are a digital representation of someone once called Sarah Burns. I am a digital representation of someone called Aaron Hemmington. You, however, have a choice, to remain calling yourself by that name, or use the name you have given yourself, Antigone.  
  
SARAH  
  
I'm not real?  
  
HEMMINGTON  
  
You, and everything around you right now is only as real as you  
  
wish it to be.  
  
CUT TO. INT-TELEVISION STORE, DAY: The store has a long line of big screen televisions, all of which show the same thing, the long streams of green code. In front of the televisions are big red easy chairs. Hemmington sits in one. Sarah looks at the code.  
  
HEMMINGTON  
  
Familiar?  
  
SARAH  
  
Scary.  
  
HEMMINGTON  
  
You were young when you first saw it. I didn't see it until I saw the computer screens on the ship. Have a seat.  
  
INT-STORE: Sarah sits. Hemmington begins flipping through the channels, each one showing various images of daily life. City scapes, people walking, cars driving, homes being built etc...  
  
HEMMINGTON  
  
You wanted to know what The Matrix is?  
  
SARAH  
  
Oh yes.  
  
HEMMINGTON  
  
Then I have a story to tell.  
  
CUT TO. INT-CONTROL ROOM: Sarah is back in the dentist chair. She wakes with a start.  
  
SARAH  
  
HOLY FUCKN' SHIT!!! NO WAY! NO FUCKN' WAY!!!  
  
HEMMINGTON  
  
Take it easy. Its okay, everyone goes through this.  
  
INT-CONTROL ROOM: Sarah flails about wildly. She spins around and hits her head. Knocked unconsious. She falls into Turkish's arms again.  
  
X-FADE TO. INT-CABIN, HOURS LATER: Sarah wakes up. Hemmington is sitting on a stool.   
  
SARAH  
  
Its funny. We made them. They've always needed us to survive. I guess we have only ourselves to blame.  
  
HEMMINGTON  
  
There's more.   
  
INT-CABIN: Sarah sits up.  
  
HEMMINGTON  
  
About a century ago, a man was created within The Matrix. He had the ability to change it to his will. His name was Neo. We also leared that he was not the only one. The Matrix has gone through six revoultions. But the five times before Neo, we weren't aware of the previous versions. Now we know that this version of The Matrix is the seventh. With each Matrix comes a being known as The One. Long story short, I have come to belive that you are that being.  
  
SARAH  
  
Me? But, you said all the other Ones were men.As you can see, I'm not.  
  
HEMMINGTON  
  
I know. Something changed in the revoulution from the sixth to the seventh version. But you must come to understand this yourself. I, nor anyone can tell you what you should or should not be. That's a choice we must all make for ourselves. Rest up now, you've got a busy day tomorrow.  
  
SARAH  
  
Why?  
  
INT-CABIN: Hemmington stands and smiles.  
  
HEMMINGTON  
  
A little give you might find some use for. 


	7. Training

X-FADE TO. INT-CONTROL ROOM: Sarah opens her door and begins to roam. She is wearing the jumpsuit plus a long, dark coat. Her travels take her to the ship's mess, the infermary and a small chapel. In the chapel is a small statue of a man in a long coat with well styled hair. Camera angles to see Turkish sitting in the back corner. Sarah does not see him when he speaks.  
  
TURKISH  
  
His name is Neo.  
  
INT-CHAPEL: Sarah turns around, startled.  
  
SARAH  
  
Shit you scared me.  
  
TURKISH  
  
Sorry.  
  
SARAH  
  
So, what's the story with you. What is this I'm on, a ship, in space?  
  
TURKISH  
  
You are on a ship, but not in space.  
  
SARAH  
  
What kind of ship?  
  
TURKISH  
  
A, uh, hovercraft.  
  
SARAH  
  
Why the hesitation?  
  
TURKISH  
  
I wasn't too sure what to call it.  
  
INT-CHAPEL: Sarah sits next to Turkish.  
  
SARAH  
  
Why's there a chapel on a ship like this?  
  
TURKISH  
  
Well, some people have come to deify the Ones. Neo was the last, so they made him into a kind of Messiah.  
  
SARAH  
  
Sounds like you're not one for belief.  
  
TURKISH  
  
Not really. I see things for and as they are. Neo could do what he did only because he was programmed with those abilities.  
  
SARAH  
  
Do you think I'm the next One?  
  
TURKISH  
  
If you are, I'm glad we found you first.  
  
SARAH  
  
What do you mean "first"? Who else was looking for me?  
  
TURKISH  
  
Ships from Zion.  
  
SARAH  
  
What's Zion?  
  
TURKISH  
  
Its a city. One of the few human cities, and for a long time, the only one.  
  
SARAH  
  
So, are you from there?  
  
TURKISH  
  
Shit no. See, Zion is quite content with living in peace. Knowing that 99% of the human race is still trapped in The Matrix. We are from a city wose sole purpose is to return the human race to power. Take down the machines and The Matrix once and for all.  
  
SARAH  
  
You don't seem to have a very high opinion of Zion.  
  
TURKISH  
  
No, not really. But they are still human, and our enemy is still the machine race whether they like it or not.  
  
SARAH  
  
So, where are you from?  
  
TURKISH  
  
Another city. Smaller than Zion, but its home.  
  
SARAH  
  
What's it called?  
  
TURKISH  
  
Atlantis.  
  
SARAH  
  
City of mystery. Have family there?  
  
TURKISH  
  
Got a Mom, Dad, Aunt and Sister.  
  
SARAH  
  
I have a Brother. Or do I?  
  
TURKISH  
  
What does that mean?  
  
SARAH  
  
If The Matrix isn't real, he isn't really related to me at all.  
  
TURKISH  
  
I wouldn't say that.  
  
SARAH  
  
Why not?  
  
TURKISH  
  
Well, in order to create a human, you need the seed from two others, your Mom and Dad. Biologically, your family is your family.  
  
SARAH  
  
Makes sense. What do you do here?  
  
TURKISH  
  
I'm your operator. I guide you through The Matrix as best I can. I upload training programs when necessary.  
  
SARAH  
  
What training programs?  
  
TURKISH  
  
I was acually coming to wake you up to get you started.  
  
SARAH  
  
Well then, what are we waiting for?  
  
INT-CHAPEL: Sarah and Turkish stand up.  
  
CUT TO. INT-CONTROL ROOM: Sarah is now sitting in one of the chairs with a plug in her head. Turkish is sitting at the computers. He is wearing a headset.  
  
TURKISH  
  
Okay, you have your options, combat or operations?  
  
SARAH  
  
Combat sounds like fun.  
  
TURKISH  
  
Alright. Weapons or fighting?  
  
SARAH  
  
Fighting.  
  
TURKISH  
  
Good choice.  
  
INT-CONTROL ROOM: Turkish scans through several files. He arrives at one marked "Inner Matrix Combat (Hand to Hand)" He opens the file and selects "Styles". A long list of Martial Art styles fly across the screen.  
  
TURKISH  
  
Just say when.  
  
INT-CONTROL ROOM: Sarah is amazed by the information flying across her eyes.  
  
SARAH  
  
Whoa. Uh, when.  
  
INT-CONTROL ROOM: Turkish stops the list at Tai Kwon Do.  
  
TURKISH  
  
Good choice. Ready?  
  
SARAH  
  
Yeah.  
  
INT-CONTROL ROOM: Turkish hits the button marked "LOAD". Sarah's reaction is immidiate. She closes her eyes and reacts as though she put her head out the window of a moving car. Seconds later, she stops.  
  
SARAH  
  
Wow!  
  
TURKISH  
  
Fun?  
  
SARAH  
  
Yeah.  
  
TURKISH  
  
More?  
  
SARAH  
  
Absolutely.  
  
INT-CONTROL ROOM: Turkish makes another selection and hits "LOAD" again.  
  
INT-CONTROL ROOM, HOURS LATER: Sarah is still in the chair. Hemmington comes up behind her. He looks at her then at Turkish.  
  
HEMMINGTON  
  
How long?  
  
TURKISH  
  
About, twelve hours.  
  
HEMMINGTON  
  
Holy shit. Straight?  
  
TURKISH  
  
Yup.  
  
HEMMINGTON  
  
That's a new record.  
  
INT-CONTROL ROOM: A small alarm sounds on Turkish's console. He shuts it off.  
  
TURKISH  
  
That's it, she's done.  
  
INT-CONTROL ROOM: Sarah wakes. She looks as though she just had amazing sex.  
  
SARAH  
  
Is that all you got?  
  
TURKISH  
  
Actually yes, you're done.  
  
HEMMINGTON  
  
How do you feel?  
  
SARAH  
  
Amazing. I feel as though there wasn't anything I can't do.  
  
HEMMINGTON  
  
Really?  
  
SARAH  
  
Yeah.  
  
HEMMINGTON  
  
Show me.  
  
CUT TO. EXT-CITY STREETS, DAY: Sarah is standing in the middle of the street, hair regrown, and wearing a pair of red leather pants and red tank top. She looks down the street. Hemmington is standing there wearing black, formal pants, nice, shiny shoes and a black tee shirt.  
  
HEMMINGTON  
  
Remarkable isn't it. Seems real, feels real even smells real. But it isn't. You must learn that the rules in here are no differant than any other computer program. Some can be bent, others, broken.  
  
SARAH  
  
I get it.  
  
HEMMINGTON  
  
Then hit me. If you can.  
  
EXT-STREETS: Sarah and Hemmington ball up their fists. They circle eachother for a while before Hemmington makes his move putting Sarah on the defencive. They fight in Kung Fu style. Sarah is a little choppy whereas Hemmington's motions are fluid and precice. At one point their faces are in close proximity. Sarah winces and Hemmington smiles.  
  
HEMMINGTON  
  
Not bad for a newbie.  
  
SARAH  
  
But...  
  
HEMMINGTON  
  
You're still being bound to rules that don't exist.  
  
EXT-STREET: Sarah shoves Hemmington away. Hemmington stands as Sarah rushes him. Hemmington spins around and kicks her in the gut. She flies into a wall, putting a dent into it. Hemmington moves to her. He looks at her, she seems to be unconscious. Hemmington leans down to check on her. She shoots her hand out at him, grabbing his throat.  
  
CUT TO. INT-CONTROL ROOM: Turkish and the rest of the crew are watching the action.  
  
TURKISH  
  
Yes!!!  
  
HELENA  
  
Holy shit she's ballsy.  
  
CUT TO. EXT-STREETS: Sarah smiles at Hemmington as she throws him away. He spirals in the air and makes a hard landing. Sarah walks to his position.  
  
HEMMINGTON  
  
Is that all you've got?  
  
SARAH  
  
Come on, haven't you had enough?  
  
HEMMINGTON  
  
I was just warming up.  
  
EXT-STREETS: Hemmington crouches down, then leaps high into the sky. Sarah looks at his actions in astonishment. She closes her eyes and speaks quietly.  
  
SARAH  
  
Okay, it's not real, its not real, its not real.  
  
EXT-STREETS: As Sarah is saying this she too is crouching as Hemmington did.  
  
CLOSE ON SARAH'S EYES: The city around her begins to fall away and her hair is reacing as though she was moving very fast.  
  
CUT TO. INT-CONTROL ROOM: All of whom are watching are amazed as to what Sarah is doing.  
  
CUT TO. EXT-CITY, CLOSE ON SARAH'S EYES: Her eyes open. Reflected in them is the city around her. It is falling and spinning. A small tear rolls out her eye and falls away.  
  
CUT TO. EXT ROOFTOP, DAY: Hemmington is standing on the roof as Sarah lands. He is in a state of disbelief. Sarah lands. She turns and begins to walk towards Hemmington.  
  
HEMMINGTON  
  
Not one first timer has ever done that. How was that possible?  
  
SARAH  
  
I guess I have a very free mind.  
  
EXT-ROOFTOP: She snaps out of conversation mode and throws a torrent of kicks and punches, most of which Hemmington blocks though some make it through. Sarah is becoming more and more precise. She kicks Hemmington and he flies through the air on to the roof of another building. Sarah follows him. Hemmington gets on his feet as Sarah makes a hard landing. Hemmigton puts out his hand to stop the fight. Sarah doesn't even take time to breathe when she makes several more attacks. Hemmington dodges and blocks all of them. At one point he and Sarah are in close proximity again. Hemmington looks angry.  
  
HEMMINGTON  
  
What the hell's wrong with you?!  
  
SARAH  
  
This is too much fun to stop now.  
  
HEMMINGTON  
  
When my hand goes up, we stop! That's the way things are done!!  
  
EXT-ROOFTOP: He and Sarah look at eachother, assesing eachother's moods. They break. Sarah backs off.  
  
SARAH  
  
Sorry.  
  
HEMMINGTON  
  
Its okay. This many abilities so soon, must have been nuts on your system.  
  
SARAH  
  
It was.  
  
HEMMINGTON  
  
Ready for another simulation?  
  
SARAH  
  
What kind?  
  
HEMMINGTON  
  
Weapons training.  
  
SARAH  
  
Sounds like fun.  
  
HEMMINGTON  
  
T, load the Lobby.  
  
CUT TO. INT-CONTROL ROOM: Turkish types in a few commands.   
  
TURKISH  
  
Alright baby, let's see your stuff.  
  
HELENA  
  
Baby?  
  
TURKISH  
  
I didn't say "baby".  
  
HELENA  
  
Yes you did.  
  
WOO  
  
You did.  
  
TURKISH  
  
I didn't.  
  
ANDREW  
  
Just load the program, "baby."  
  
TURKISH  
  
Fuck off.  
  
INT-CONTROL ROOM: Turkish hits "LOAD".  
  
CUT TO. EXT-ROOFTOP: The cityscape falls away. It is quickly replaced by a marble lobby equipped with sofas, a reception desk and rotating doors. Behind the desk is a panel that opens to reveal a whole arsinal of guns. Machine guns, pistols, grenades etc... Sarah and Hemmington are standing in the middle of the room. Hemmington is now dressed as he was in The Matrix. Sarah is now clad in a long red coat, black shirt, pants and shoes. Her hair hasn't changed, but she is now wearing a pair of dark sunglasses. She and Hemmington walk to the gun rack.  
  
HEMMINGTON  
  
Under that coat you will find enough holsters to carry six pairs of guns.   
  
INT-LOBBY: Sarah begins to pick and choose her weapons. She checks them before loading them. She also takes off all the safeties. Hemmington walks to the other end of the lobby.  
  
HEMMINGTON  
  
Your objective is to rescue me from a dozen or so, well armed assholes.  
  
SARAH  
  
Works for me. I feel I need to make it up to you.  
  
HEMMINGTON  
  
Set?  
  
INT-LOOBY: Sarah moves to the opposite end of the lobby facing Hemmington. She opens her coat to show him her selection.  
  
SARAH  
  
Yup.  
  
HEMMINGTON  
  
Then let's get this show on the road. Begin!  
  
INT-LOBBY: Six leather clad men step out of the walls. They are all bearing a pair of large automatic weapons. Sarah smiles. She pulls out a pair of similar guns and begins firing. She ducks behind a piller as the men begin to fire at her. She empties out the guns she was firing and pulls out another pair. She jumps into The middle of the fight screaming. She cartwheels in the air taking out two "assholes".  
  
CUT TO. INT-CONTROL ROOM: Everybody is astounded at this action.  
  
TURKISH (whispering)  
  
That's my girl.  
  
CUT TO. INT-LOBBY: Sarah finishes off those two guns. She drops them and pulls out a pair of Desert Eagles. She takes out one more man. She spins around and backflips while firing, killing one more.  
  
HEMMINGTON  
  
Holy shit.  
  
INT-LOBBY: Sarah finishes off the Eagles. She throws them away and, in an act that Hemmington is confused with, takes off the rest of her guns. She runs back behind a piller. The remaining men move in for the kill. Sarah spins out from behind the piller. She is wearing the world's largest grin and holing a minigun.  
  
SARAH  
  
Miss me?  
  
INT-LOBBY: Sarah opens fire, killing all of the men at once. She drops the minigun and moves to Hemmington. She is about to say something when, out of nowhere, another man jumps in front of her. He is holding one automatic weapon to Sarah's head. She sighs and takes off her glasses. The man chuckles. Sarah smiles again. She dodges her head to one side when the man fires. She pulls out a small revolver and fires it into the man's head, killing him. Sarah puts the gun in Hemmington's hand. Hemmington is shocked at what he saw.  
  
SARAH  
  
Enjoy the show?  
  
HEMMINGTON  
  
I've never seen anything like that before.  
  
SARAH  
  
I've never done anything like that before.  
  
CUT TO. INT-CONTROL ROOM: Sarah and Hemmington wake up in the chairs. Turkish pulls out Sarah's plug, Helena pulls out Hemmington's. Turkish smiles at Sarah  
  
TURKISH  
  
That was simply the most amazing thing I have ever seen.  
  
SARAH  
  
Thanks. I'll be here all week.  
  
INT-CONTROL ROOM: Hemmington stands up and leaves. Everyone watches him go.  
  
MICK  
  
What's up with him?  
  
HELENA  
  
I don't know.  
  
SARAH  
  
I guess I just out shined him.  
  
TURKISH  
  
I think you did. 


	8. Going Back

CUT TO. INT-HEMMINGTON'S CABIN: Hemmington sits at a desk. He activtes a computer. The screen lights up. An old man in his late 60's appears. This is JULES.  
  
JULES  
  
What's up?  
  
HEMMINGTON  
  
I found The One.  
  
JULES  
  
The One?  
  
HEMMINGTON  
  
Yeah.  
  
JULES  
  
He's on your ship?  
  
HEMMINGTON  
  
Yes she is.  
  
JULES  
  
Wait, "she"?  
  
HEMMINGTON  
  
Yes. The One is a woman.  
  
JULES  
  
But The Ones have all been men. Are you sure that she's The One and not just really really good.  
  
HEMMINGTON  
  
She's The One, I know it. And Zion's not getting her. With her help we can destroy The Matrix and take out the Machines.  
  
JULES  
  
Has she seen The Oracle yet?  
  
HEMMINGTON  
  
No, not yet.  
  
JULES  
  
Take her as soon as possibe. If she in The One this is the break that will turn the tides.  
  
HEMMINGTON  
  
I'll take her tomorrow.  
  
JULES  
  
Good. Oh by the way. There's a little sentinal activity in your area.  
  
HEMMINGTON  
  
Thanks. They should leave us alone. I imagine that they think we're from Zion.  
  
JULES  
  
Nevertheless, watch your ass and keep her in one piece dammit.  
  
HEMMINGTON  
  
Yes sir.  
  
JULES  
  
Atlantis Command out.  
  
INT-CABIN: The screen goes dark. Hemmington leans back in his chair. Sarah is leaning against the door. Hemmington does not see her.  
  
SARAH  
  
Who's The Oracle.  
  
HEMMINGTON  
  
Wha.. Oh shit you scared me.  
  
SARAH  
  
Who and or what is The Oracle?  
  
HEMMINGTON  
  
The Oracle is a being inside The Matrix who acts as a guide. We all visit her to gain insight into our purposes.  
  
SARAH  
  
Are you telling me she can see the future?  
  
HEMMINGTON  
  
In a manner of speaking, yes. The Oracle foretold the coming of The One.  
  
SARAH  
  
But you told me that you already knew The One would come.  
  
HEMMINGTON  
  
She foretold the coming of Neo and The Ones before him.  
  
SARAH  
  
I see.  
  
HEMMINGTON  
  
Get some sleep. You'll learn more about yourself tomorrow.  
  
SARAH  
  
Good night.  
  
HEMMINGTON  
  
Night.  
  
X-FADE TO. INT-SARAH'S CABIN: Sarah is asleep on her bed. Turkish quietly opens the door. Sarah stirs. Turkish is carrying a tray. He leans down to her.  
  
TURKISH  
  
Good morning.  
  
SARAH  
  
Morning. What's that?  
  
TURKISH  
  
Breakfast.  
  
SARAH  
  
What is it?  
  
TURKISH  
  
I don't really know. Its mostly a dense mixture of all the basic vitamins, minirals and nutriants.  
  
INT-CABIN: Sarah takes a spoonful of stuff that looks like watery porriage.  
  
SARAH  
  
Tastes like baby food.  
  
TURKISH  
  
You've never had baby food.  
  
SARAH  
  
I guess not. No matter, you do what you gotta do.  
  
TURKISH  
  
And on that, you've got to get up.  
  
SARAH  
  
Why?  
  
TURKISH  
  
You're going in.  
  
CUT TO. INT-CONTROL ROOM: Sarah looks around. All of the crew except for Turkish and herself are plugged into the system. Turkish lays Sarah down and gets ready to plug her in.  
  
TURKISH  
  
Have fun.  
  
INT-CONTROL ROOM: Turkish plugs her in. She slips away. Turkish jogs to his post behind the computers. He puts on his headset and settles in.  
  
TURKISH  
  
You guys alright?  
  
CUT TO. INT-CONSTRUCT: Hemmington, Woo, Sarah and the others are standing in a large white space. They are all nicely dressed and are all well armed underneith their clothes. Hemmington is on a cellphone.  
  
HEMMINGTON  
  
We're good. Hack us in.  
  
INT-CONSTRUCT: The white space falls away. A long tunnel made of the green code swoops around them. A large white flash appears.  
  
CUT TO. INT-OLD HOTEL ROOM: The crew is now standing around a table with a ringing phone on it. They are now back inside   
  
The Matrix. Hemmington walks to the phone and picks it up.  
  
HEMMINGTON  
  
We're in.  
  
CUT TO. EXT-CITY STREETS, DAY: The group walks out into a crowd of mid day pedestrians. Hemmington turns to Nash and Helena.  
  
HEMMINGTON  
  
Keep watch over the exit.  
  
HELENA  
  
Right.  
  
NASH  
  
How long do you expect to be?  
  
HEMMINGTON  
  
Looking to be about an hour and a half.  
  
NASH  
  
Alright. Take care amigo.  
  
EXT-STREETS: Hemmington, Woo, Sarah get into a waiting car. The car drives off.  
  
CUT TO. INT-CAR, DAY: Sarah stares out the window. She now sees this place as being very constructed and fake. Woo is driving and Hemmington is sitting beside Sarah in the back seat.  
  
SARAH  
  
This is amazing.  
  
HEMMINGTON  
  
What is?  
  
SARAH  
  
This, world. This Matrix. Its unbelivable.  
  
HEMMINGTON  
  
It takes a little getting used to. But the inital sense of delirium will ware off.  
  
SARAH  
  
I hope so, I'm feeling seasick.  
  
CUT TO. EXT-STREETS, DAY: The car drives on in the traffic. 


	9. Club Hell

CUT TO. INT-S&M CLUB HELL: Inside one can witness all the usual activities, whipping, nipple twisting etc... The camera moves closer to the floor. One can see three pairs of black shoes walk through the crowd. The camera moves up to see the backs of their heads. The people nearest to the men in suits part to make way. The men move to a flight of stairs that leads to a balconey. Camera moves to see the men's faces. It's Agents Jones, Brown and Johnson.  
  
CUT TO. INT-S&M CLUB, BALCONEY: The Agents arrive at the top. Three burley, leather clad men stop them.  
  
MAN#1  
  
He is not seeing anyone today.  
  
MAN#2  
  
Take a hike suit.  
  
JONES  
  
You gentlemen do not want this kind of trouble.  
  
MAN#3  
  
This place is all about trouble.  
  
BROWN  
  
Then we're facilitaing the most trouble.  
  
INT-BALCONEY: The Agents reach into their coats and pull out a large calibre automatic weapon each. The Agents fire the weapons into the bouncers before they have time to react. The bouncers fall down in three seperate bloody messes. The crowd below stops thier partying and looks up. The Agents turn to several red sofas with people on them, and one man in particular. The man prepares to take a sip of a martini when Jones fires his gun at the glass. Time slows as Jones puts his hand out and stops the bullet from entering the man's throat. Time resumes. The bullet falls into the man's lap, as do the shattered remains of his glass and drink. The man brushes the mess of and stands up. This is the MEROVINGIAN. Seated beside him is his scantly clad but exceptionally beautiful wife PERSEPHONIE. The Agents walk closer to Merovingian, he appears to be a little concerned. He looks down to the crowd, the music is still playing.  
  
MEROVINGIAN  
  
Go back to your indescretions.  
  
JONES  
  
We're here to talk.  
  
MEROVINGIAN  
  
I don't make deals with men I don't want anything from.  
  
JONES  
  
We don't make deals at all.   
  
BROWN  
  
You do as we say.  
  
MEROVINGIAN  
  
Not in my little hole in the program.  
  
JOHNSON  
  
It is listed in our directives to terminated all exiles. As far as we know, you fall into the category of an exile.  
  
PERSEPHONIE  
  
My love, they seem to take their duties quite seriously. If I were you, I would do as they say.  
  
MEROVINGIAN  
  
Perhaps you're right. Afterall, I haven't had a good laugh since the days of Neo. Come boys, let's talk. 


	10. The Oracle

CUT TO. INT-INNER CITY APARTMENT COMPLEX HALLWAY: Hemmington, Sarah and Woo walk down the hall and stop at a door. Hemmington motions Sarah to knock. She goes to do it, but the door opens as her knuck connects with the door. An oriental man stans there wearing a white shirt and dark, round sunglasses. This is SERAPH.  
  
SERAPH  
  
Hello Antigone. She is waiting.  
  
INT-HALLWAY: Sarah and Hemmington enter. Woo waits outside.  
  
CUT TO. INT-APARMENT, KITCHEN: Sarah is led in by Seraph. The room is small, but cozy. There are all the usual suspects, stove, fridge and dishwasher. In the corner is a small, circular table with a smoldering cigarette in an ashtrey. Sarah looks and sees the back of a woman wearing an apron. She has on a green blouse and brown pants and her hair is done up behind her head. This is THE ORACLE. She turns to face Sarah. She smiles.  
  
ORACLE  
  
Tell Woo he can come in.  
  
SERAPH  
  
Yes Oracle.  
  
INT-KITCHEN: Seraph leaves. The Oracle sits at the table. She picks up the cigarette from the ashtrey and inhales. She looks at Sarah.  
  
ORACLE  
  
Good morning.  
  
SARAH  
  
Good morning.  
  
ORACLE  
  
You like oatmeal?  
  
SARAH  
  
I...  
  
ORACLE  
  
No, you're allergic.  
  
SARAH  
  
As far as I know.  
  
ORACLE  
  
You know a lot of things now don't you?  
  
SARAH  
  
More than any one person could handle.  
  
ORACLE  
  
But you handled it, didn't you.  
  
SARAH  
  
Yeah I guess I did.  
  
ORACLE  
  
Can you also handle the fact that you are only as allergic to oatmeal as you want to be?  
  
SARAH  
  
I get it.  
  
ORACLE  
  
You do?  
  
SARAH  
  
Yeah. I decide my own fate now right? Its my choice.  
  
ORACLE  
  
If you say so.  
  
SARAH  
  
What does that mean?  
  
ORACLE  
  
It means that you may belive you have a choice, but in actuallity, you don't.  
  
SARAH  
  
You bi...  
  
ORACLE  
  
Got ya. Of course you have a choice. You chose to come here, you chose to take the red pill. And it is your choice whether or not you are The One.  
  
SARAH  
  
Okay you've lost me.  
  
ORACLE  
  
What I'm saying is, a test will soon come to determine whether or not you are The One. It is your choice whether or not to take that test.  
  
SARAH  
  
What kind of test?  
  
ORACLE  
  
You sure do ask a lot of questions don't you?  
  
SARAH  
  
Yes.  
  
ORACLE  
  
If I were to say that you were not The One, how would you feel?  
  
SARAH  
  
I would feel relived. It sounds like too much for one person.  
  
ORACLE  
  
Do you think you're The One?  
  
SARAH  
  
I really don't know.  
  
ORACLE  
  
In order for one to be one's self one must first know one's self. The coming test will show you how much you truly know yourself.  
  
INT-KITCHEN: The timer on the oven goes off. The Oracle stands and puts on some oven mitts. She reaches into the oven and pulls out a tray of oatmeal cookies. She sets them down on the oven and begins to shovel them off the tray and on to a waiting plate. She takes off a mitt and picks up one of the cookies. She walks to Sarah and hands her the cookie.  
  
ORACLE  
  
It's up to you whether or not you're allergic.  
  
INT-KITCHEN: Sarah stares at the cookie.  
  
SARAH  
  
It's up to me whether or not I'm The One.  
  
ORACLE  
  
You might just make something out of yourself yet kiddo.  
  
CUT TO. INT-HALLWAY: Sarah leaves the apartment. She is still holding the cookie. Hemmington and Woo are right behind her.  
  
HEMMINGTON  
  
You okay?  
  
SARAH  
  
Yeah.  
  
INT-HALLWAY: Sarah takes a big bite of the cookie. She chews on it for a while. She swollows.  
  
SARAH  
  
Yeah I'm fine. 


	11. Beginning A Test

CUT TO. INT-CONTROL ROOM, REAL WORLD: Everyone wakes up. Turkish is right there to greet Sarah. Sarah leans up.  
  
TURKISH  
  
So, how'd it go?  
  
SARAH  
  
It was cryptic at best.  
  
HEMMINGTON  
  
That's like her, you have to figure it all out for yourself.  
  
CUT TO. INT-ORACLE'S KITCHEN, THE MATRIX: The Oracle is standing, staring out the window. Seraph is standing watching her. The Oracle knowa he is doing this and turns to him.  
  
ORACLE  
  
Seraph, its okay, he's not coming back.  
  
SERAPH  
  
I know, but you have been a little different since he and Neo fought.  
  
ORACLE  
  
Smith is destroyed. As far as I can tell, he's never coming back.  
  
INT-KITCHEN: The Oracle's attention is diverted for a moment. She butts out her cigarette and moves to Seraph.  
  
ORACLE  
  
The time has come Seraph.  
  
SERAPH  
  
They're here.  
  
ORACLE  
  
Go out the window, wait in the alley. You'll know when to make the call.  
  
SERAPH  
  
If I could just stay...  
  
ORACLE  
  
No Seraph. They're here for a reason. This is not coincidence. This is purpose.  
  
CUT TO. INT-STAIRWELL: Six men from Club Hell are coming up the stairs. They are followed by a very tall man with long grey hair and poor clothes. It is the same man Sarah saw on the subway. This is the TRAINMAN.  
  
TRAINMAN  
  
Bring her down in one piece. The deal was for her to be alive.  
  
CUT TO. INT-APARTMENT: The cronies burst through the door with guns drawn. They enter the place trashing as much of it as they can. The Trainman is right behind them. He looks into the living room.  
  
CUT TO. INT-LIVING ROOM: The Oracle is sitting on the couch lighting up another cigarette. The Trainman stands towering over her.  
  
TRAINMAN  
  
The Merovingian would like to have a few words with you now.  
  
ORACLE  
  
No he doesn't.  
  
TRAINMAN  
  
You're right, he doesn't. He wants to see you locked away for ever.  
  
ORACLE  
  
See, you got yoour message across just fine without using euphemisms.  
  
TRAINMAN  
  
Let's go.  
  
INT-LIVING ROOM: The Oracle takes her time in finishing her cigarette. The Merovingian's cronies enter the room. The Oracle finishes an stands up. She smiles.  
  
ORACLE  
  
Well, let's not keep the fates waiting. 


	12. Large Calibre Rescue

CUT TO. INT-CONTROL ROOM, THE REAL WORLD: Sarah comes up behind Turkish while he is sitting at his computers staring at the lines of code.  
  
SARAH  
  
So, that's it?  
  
TURKISH  
  
Yeah. Doesn't look like much does it?  
  
SARAH  
  
Well, if you think about it, it looks not like much but is much to be reckoned with.  
  
TURKISH  
  
Yeah, I suppose you're right.  
  
SARAH  
  
So, how do you guide people through it if you don't know what you're seeing?  
  
TURKISH  
  
Through the use of blueprints and city plans I can see what's coming.  
  
SARAH  
  
Tell me, though its a little off topic, are you married?  
  
TURKISH  
  
No.  
  
SARAH  
  
Girlfriend?  
  
TURKISH  
  
No, its hard to maintain a relationship in these circumstances.  
  
SARAH  
  
Shame.  
  
INT-CONTROL ROOM: Sarah and Turkish stare at eachother for a little while. But then Turkish's phone rings. This shocks the both of them.  
  
TURKISH  
  
Nobody's in right now.  
  
SARAH  
  
A Zion crew?  
  
TURKISH  
  
Doubt it. Nobody from Zion has been inside for at least twenty five years.  
  
INT-CONTROL ROOM: Turkish puts on his headset.  
  
TURKISH  
  
Operator.  
  
SERAPH (V.O)  
  
I must speak with The One.  
  
INT-CONTROL ROOM: Turkish hands the headset over to Sarah. She puts it on.  
  
TURKISH  
  
I think its for you.  
  
SARAH  
  
Hello?  
  
SERAPH (V.O)  
  
Antigone?  
  
SARAH  
  
Sure.  
  
SERAPH (V.O)  
  
The Oracle has been taken prisoner by the Merovingian.  
  
SARAH  
  
The who?  
  
SERAPH (V.O)  
  
You must come at once.  
  
INT-CONTROL ROOM: The line goes dead. Sarah hands the headset to Turkish.  
  
TURKISH  
  
Who was it?  
  
SARAH  
  
I think he's called Seraph.  
  
TURKISH  
  
He's The Oracle's bodyguard. What'd he want?  
  
SARAH  
  
The Oracle was taken prisonner by someone called the Metro, the Merim, Mero...  
  
TURKISH  
  
Merovingian.  
  
SARAH  
  
That him. Who is he?  
  
TURKISH  
  
An asshole who should no longer exist.  
  
INT-HEMMINGTON'S CABIN: Turkish and Sarah burst through the door. Hemmington is on his cot reading, but quickly gets up.  
  
TURKISH  
  
The Merovingian's got her.  
  
HEMMINGTON  
  
Oh shit.  
  
CUT TO. INT-CONTROL ROOM: The ship's entire crew is on deck. Hemmington stands in the middle of the circle.  
  
HEMMINGTON  
  
Alright, we've got a bad thing going down in The Matrix. The Merovingian's taken The Oracle prisoner.  
  
ANDREW  
  
Who told you this?  
  
TURKISH  
  
Seraph.  
  
NASH  
  
Isn't he the bodyguard?  
  
HEMMINGTON  
  
Yeah.  
  
HELENA  
  
Pretty ineffective if you as me.  
  
SARAH  
  
Nobody was.  
  
HEMMINGTON  
  
Alright listen, we need to focus. We have to mount a rescue.  
  
MICK  
  
How that's one big fuckn' rescue. He's probably got her locked away in the train station.  
  
HELENA  
  
And only The One could get somebody out of that place.  
  
ANDREW  
  
Shame she's not around, right Antigone?  
  
SARAH  
  
Listen I, wait, she told me this would happen.  
  
HEMMINGTON  
  
What would?  
  
SARAH  
  
The time when I have to make the choice whether or not to become The One. It would be a test she said.  
  
WOO  
  
Pretty good test it seems.  
  
SARAH  
  
Yeah.  
  
INT-CONTROL ROOM: Sarah begins to pace the room. She stops and turns to the crew.  
  
SARAH  
  
I'll get her. But I'll need help.  
  
INT-CONTROL ROOM: The crew contemplates the dangers, risks and rewards. Turkish looks up.  
  
TURKISH  
  
Well I'm a nobrainer, you need an operator.  
  
HEMMINGTON  
  
I was in when we brought you out.  
  
WOO  
  
I'll be there.  
  
ANDREW  
  
I don't see why not.  
  
HELENA  
  
I'm in.  
  
NASH  
  
Me too.  
  
MICK  
  
I've got your back big guy.  
  
HEMMINGTON  
  
Turkish, load us up. We're going in.  
  
CUT TO. EXT-TUNNELS, REAL WORLD: These tunnels are dank, long and dark. A blue light is seen at the end of a tunnel. This is the Dionysus. It is a reletively small, but long ship. It has its cockpit on top of the bow with many long antannai sticking off it. It also has several electric blue pads all over the ship for propultion. The ship makes it to a flat surface, scans the area and lands.  
  
CUT TO. INT-CONTROL ROOM: Turkish climbs down a ladder into the room. Hemmington is seated in a chair, everyone else, but Sarah, have been plugged in.  
  
TURKISH  
  
We're at brodcast depth.  
  
HEMMINGTON  
  
Good. (To Sarah) Ready for this?  
  
SARAH  
  
As ready as I'll ever be.  
  
INT-CONTROL ROOM: Turkish plugs Hemmington in. Sarah sits in her seat. Turkish moves behind her.  
  
TURKISH  
  
You'll be fine.  
  
SARAH  
  
You'll be my guardian angel.  
  
TURKISH  
  
I wish. I can alwa...  
  
INT-CONTROL ROOM: Sarah leand up and kisses Turkish fully on the lips. This leaves Turkish a little stunned. Sarah leans back down.  
  
Turkish begins to plug her in.  
  
SARAH  
  
Keep us safe.  
  
TURKISH  
  
You know I will.  
  
INT-CONTROL ROOM: Turkish plugs Sarah in.  
  
CUT TO. EXT-CITY, NIGHT: The crew walks out of an older hotel. They are all now very nicely dressed, but also very well armed underneith. They hear something in a nearby ally. They all draw one gun each. Seraph quietly slips out of the ally.  
  
SERAPH  
  
I apologize if I suprised you.  
  
HEMMINGTON  
  
No apologies necessary. Where may we find The Merovigian?  
  
SERAPH  
  
He has a penthouse north of here. I will show you the way.  
  
SARAH  
  
Just one thing.  
  
SERAPH  
  
Why didn't I stop those men from taking The Oracle?  
  
SARAH  
  
Yeah.  
  
SERAPH  
  
She told me not to.  
  
SARAH  
  
That sneaky little...  
  
HEMMINGTON  
  
Take us then.  
  
SERAPH  
  
Very well.  
  
EXT-HOTEL: Seraph takes out a pair of nickle plated 9mm guns, cocks them and begins to lead the way.  
  
CUT TO. EXT-CITY STREETS, NIGHT: Seraph has led the crew to a tall, window covered tower in the nicer part of town. The streets are nearly empty. Seraph looks at the enterence to the building and sees two large, leather clad men guarding it. Seraph turns back to the group.  
  
SERAPH  
  
The Merovingian is having a little party tonight to celebrate his capture.  
  
SARAH  
  
Let's crash it then.  
  
HEMMINGTON  
  
I'm all for that.  
  
EXT-STREETS: The crew begins to walk towards the building. Andrew pulls out a large shotgun, Helena pulls out a pair of Uzis, Nash takes out a pair of Desert Eagles, Mick takes out a pair of very large automatic shotguns and Woo takes out his Katanas.  
  
ANDREW  
  
I've got the neck.  
  
MICK  
  
Eyes.  
  
NASH  
  
Skull.  
  
WOO  
  
Arms.  
  
HELENA  
  
Balls.  
  
CUT TO. EXT-FRONT DOORS: Seraph walks up to the men. They look at all the crewmembers with guns.  
  
BOUNCER#1  
  
He doesn't have time for you or them.  
  
SERAPH  
  
They're with me.  
  
BOUNCER#2  
  
Just leave now and there won't be any trouble.  
  
SARAH  
  
We have invitations.  
  
BOUNCER#1  
  
They in your shirt.  
  
SARAH  
  
No, (indicating Seraph) he's got em.  
  
EXT-BUILDING: Seraph smiles.  
  
CUT TO. INT-LOBBY, NIGHT: The two bouncers fly through the doors and plough into the walls. They fall out of the walls in bloody heaps. The crew walks into the lobby. They look around for anybody to shoot them. No one.  
  
HEMMINGTON  
  
Split up. Woo, Helena, Andrew, Nash and Mick take the stairs. I, Antigone or Sarah, or whatever the hell your name is, and Seraph we'll take the elevators. Got that?  
  
WOO  
  
Got it.  
  
HEMMINGTON  
  
Get moving.  
  
CUT TO. INT-ELEVATOR: Sarah, Hemmington and Seraph are re checking their guns. They finish and holster them.  
  
SARAH  
  
So, this Mero...  
  
SERAPH  
  
Merovingian.  
  
SARAH  
  
I was gonna get there. But anyway, what's his story?  
  
SERAPH  
  
He was at one time a program designed to counter the effects of the first One. The One, however, did not destroy him totally rather he destroyed his abilities to function as a Nemesis.   
  
HEMMINGTON  
  
Now he gets other programs to do his dirty work.  
  
SARAH  
  
What kind of party are we expecting?  
  
HEMMINGTON  
  
Not the kind you'd want your kids ever knowing about. 


	13. A Firey Reception

CUT TO. INT-LONG HALLWAY: The hall is a long one made from green tiles and yellow trim. It has many large paintings decorating the walls. But the paintings are somewhat disturbing to the trio. They are depicting many people in horrible torment. Gutting, iron maidens, whippings, hangings, crucifixtions etc...  
  
SARAH  
  
This guy's nuts.  
  
INT-HALLWAY: As the trio moves down the hall loud thudding music can be heared. The music is being acompanied by women screaming in, what can only be described as lustful torment. The trio arrives at a pair of large, French doors. Seraph opens them. He stands, with Sarah and Hemmington, looking down a long, ovular reception area. Seraph looks concerned. He pulls out his guns. Hemmington does as well. Sarah opens up her coat to reveal that she is loaded up with so much guns and ammo she could supply an army for life.  
  
SERAPH  
  
This isn't right.  
  
SARAH  
  
What's not.  
  
HEMMINGTON  
  
There's no guards.  
  
SARAH  
  
Isn't that a good thing?  
  
SERAPH  
  
No. I have an idea.  
  
INT-RECEPTION AREA: Seraph holsters his guns and takes a few steps back. He takes a run at the room. He leaps high into the air and proceeds to do several backflips. While he does this, ten men step out from behind ten pillars in the room. They all fire at Seraph.  
  
CUT TO. INT-RECEPTION AREA, BULLET TIME: Seraph hops through the bullet attack. At one point, while in mid-air, he pulls out his guns and fires them into the two men flanking him.  
  
CUT TO. INT-RECEPTION AREA, REAL TIME: Seraph lands as his targets fall dead. The shooting stops. Seraph turns to Hemmington and Sarah.  
  
SERAPH  
  
Eight!!!  
  
INT-RECEPTION AREA, DOORWAY: Hemmington and Sarah nod to eachother. They rush into the room guns blazing. The remaining eight guards come out from behind the pillars. Sarah puts away one of her automatics. She falls onto her left hand and spins on it while firing with her right. She takes out two guards by doing this. She hops back on to her feet.  
  
SARAH  
  
Six!!!  
  
INT-RECEPTION AREA: Hemmington comes out from behind a shot up pillar. He has a pair of lazer assisted assult rifles. He bounds into the middle of the room. He looks up at a chandelier. He backflips into the air and locks his feet around it. Hemmington shifts his weight to make the chandelier spin. Hemmington gets his eyes locked on two guards. He opens fire on them. The guards fall dead full of bloody bullet holes. Hemmington unlocks his legs and backflips out of the way. He takes cover behind another pillar.  
  
HEMMINGTON  
  
Four!!!  
  
INT-RECEPTION AREA: Sarah locks and loads another pair of high powered guns. Seraph reloads his own. Two guards move to opposite ends of the room. Sarah nods to Seraph. Seraph nods back. They both jump out of hiding from opposite ends, facing the guards while back to back.  
  
CUT TO. INT-RECEPTION AREA, BULLET TIME: Sarah and Seraph fire. The bullets ripple through the air and tear into the guards.  
  
CUT TO. INT-RECEPTION AREA, REAL TIME: Sarah and Seraph finish the attack. The roll into the other's cover area.  
  
SARAH & SERAPH  
  
Two!!!  
  
INT-RECEPTION AREA: Hemmington reloads his guns. He jumps out from his cover with guns blazing.   
  
CUT TO. INT-RECEPTION AREA, BULLET TIME: Hemmington flies over a small table. He holds out his arms and fires his weapons into the remaining guards. They fall dead.   
  
CUT TO. INT-RECEPTION AREA, REAL TIME: Hemmington lands on his feet.  
  
HEMMINGTON  
  
Clear!!!  
  
INT-RECEPTION AREA: Sarah and Seraph come out from their covers and begin to converge on Hemmington. Suddenly, a gun is put to Hemmington's head. He twists his head to see one remaining guard.  
  
HEMMINGTON  
  
Odd numbers. I hate em'.  
  
INT-RECEPTION AREA: At that moment, a katana flies through the air and impales the guard on a door. Hemmington looks down the hall and sees Woo standing there with Andrew, Mick, Helena and Nash. They all move into the room  
  
WOO  
  
Sucks we couldn't be here. We ran into trouble on the thirty first.  
  
HEMMINGTON  
  
What kind of trouble?  
  
WOO  
  
Nothing we couldn't handle.  
  
INT-RECEPTION AREA: Woo holds out his other katana. It is dripping with blood and brain matter.  
  
HEMMINGTON  
  
I bet that was fun.  
  
HELENA  
  
Oh it was.  
  
SARAH  
  
So are we gonna crash this party or what.  
  
HEMMINGTON  
  
Let's crash it. 


	14. Comprimising Situation

CUT TO. INT-LARGE LIVING ROOM, NIGHT: There are about thrity or so people in the room. The people are spread out over the room, engaged in rather lurid activities including, having loud sex in the middle of the room while someone is taking pictures, attempting to rape a prostitue in the corner, a man draggin a blindfolded woman on a leash etc...   
  
The crew enters the room via a pair of large french doors. They go mostly unnoticed by the crowd as they filter through. Seraph spots Merovingian sitting on a couch. He is sitting beside two women while another has her face in his lap. Merovingian is wantonly kissing the woman on his right while his wife, Percephonie, is kissing his ear as she watches the woman in his lap do her thing. Seraph walks up to Merovingian. He grabs the woman in his lap by the back of her neck and yanks her off. He stops kissing the woman on his right and Percephonie stops with her minstrations. The Merovingian is very pissed off as he zipps up his pants and stands.  
  
MEROVINGIAN  
  
I always knew a gook would crash my good time.  
  
SERAPH  
  
Where is she?  
  
MEROVINGIAN  
  
Safely locked away in a place where she can do no more damage to the order of things.  
  
INT-LIVING ROOM: Sarah steps forward and takes Percephonie up by the hair. She takes out a pistol and presses it into her head.  
  
SARAH  
  
Talk Frenchie.  
  
MEROVINGIAN  
  
Do you really think that I would not sacrifice my wife to keep a contagion out of The Matrix. She is more than willing to die for me.  
  
PERCEPHONIE  
  
Not willing, I just do not really care either way.  
  
MEROVINGIAN  
  
I think one may need a little more time to develop some necessary bargaining skills.  
  
SARAH  
  
You know something boyo, I was making deals and comprimises when I was trapped in The Matrix. I don't make deals or deal with pompous assholes any more. Give me The Oracle or I will kill everyone in the room starting with you.  
  
INT-LIVING ROOM: Sarah aims her gun at Merovingian's head as does everyone else with Sarah. Merovingian smiles.  
  
MEROVINGIAN  
  
I do hope you know that you are threatening the wrong man.  
  
SARAH  
  
What do you mean?  
  
MEROVINGIAN  
  
Ah, ready to bargain then right?  
  
SARAH  
  
What do you want?  
  
MEROVINGAIN  
  
Oh nothing much, just a pleasent evening of debotchary with my wife, her on the floor, your pretty friend and you for good measure.  
  
SARAH  
  
You do realize that by saying that you've pissed me off to the point of signing your own death warrent.  
  
MEROVINGIAN  
  
Yes, but you cannot kill me.  
  
SARAH  
  
Why?  
  
MEROVINGIAN  
  
You are not The One. You have the ability, but not the will.  
  
SARAH  
  
I have the will and the means.  
  
INT-LIVING ROOM: Sarah cocks her gun.  
  
SARAH  
  
Time's up. What have you got to say now slick?  
  
INT-LIVING ROOM: Merovingian contemplates his situation. He comes to a desision.  
  
MEROVINGIAN  
  
What harm will it do? His name is Jones. 


	15. The Plan

CUT TO. EXT-BUILDING: The crew exits. Hemmington is on a phone.  
  
HEMMINGTON  
  
Its the Agents, they organized the Oracle's kidnapping.  
  
CUT TO. INT-CONTROL ROOM, THE REAL WORLD: Turkish is seated at his station wearing his headset.  
  
TURKISH  
  
Why would the Agents want to get rid of The Oracle? And why would they get The Merovingian to do it?  
  
HEMMINGTON(V.O)  
  
Maybe because the Agents weren't programmed to harm the Oracle, they still answer to someone.  
  
TURKISH  
  
But The Merovingian doesn't. But why do it at all?  
  
HEMMINGTON(V.O)  
  
Maybe to stop Sarah from becoming The One.  
  
TURKISH  
  
How are you gonna get to the train station?  
  
HEMMINGTON(V.O)  
  
Still working on that.  
  
CUT TO. EXT-CITY STREETS, NIGHT: Hemmington hangs up. The crew continues to walk down an allyway. They all stop at once. Sarah takes point. She looks down the ally. She sees a man in a dark suit and sunglasses standing there, blocking their path.  
  
SARAH  
  
Jones.  
  
JONES  
  
Good evening Ms. Burns, welcome back.  
  
HEMMINGTON  
  
Run.  
  
EXT-ALLY: The crew turns around and begins to run, but are stopped when Brown and Johnson block their paths. Hemmington looks up at some fire ladders. He looks to Seraph.  
  
HEMMINGTON  
  
You alright to handle them?  
  
SERAPH  
  
Just get her out of here.  
  
EXT-ALLY: Hemmington and company begin to climb. The Agents try to follow but Seraph intervenes. He, Jones, Johnson and Brown begin to fight. Hemmington and company near the halfway point. They get to a window. Hemmington breaks it and the crew begins to file in. Hemmington gets on his phone.  
  
TURKISH(V.O)  
  
Operator.  
  
HEMMINGTON  
  
We need an exit right now.  
  
TURKISH(V.O)  
  
Top floor, room 1097.  
  
CUT TO. INT-BUILDING, NIGHT: Hemmington hangs up. He begins to chase his crew. He catches up with them.  
  
HEMMINGTON  
  
Top floor, room 1097.  
  
CUT TO. INT-STAIRWELL, NIGHT: The crew begins to run up the stairs.  
  
CUT TO. EXT-ALLY, NIGHT: Seraph is still, ceaselessly, fighting The Agents. And The Agents are still, ceaselessly, fighting back.  
  
CUT TO. INT-HALLWAY, NIGHT: The crew burst through a door. In a small room who's furnishings have been covered with plastic, is a ringing phone on a small table. Hemmington picks up the phone and hands Sarah the reciever.  
  
HEMMINGTON  
  
You first.  
  
CUT TO. INT-CONTROL ROOM: Sarah wakes up in her chair. Turkish pulls out her plug. She looks over and sees Woo stir.  
  
CUT TO. INT-CONTROL ROOM, MINUTES LATER: The crew is standing in a circle again. They all look frustrated and confused.  
  
SARAH  
  
Where the hell did they come from?  
  
TURKISH  
  
Literally nowhere.  
  
HEMMINGTON  
  
What the hell does that mean?  
  
TURKISH  
  
Whaen they showed up, the Agent encoding looked a little different. It was more dense.  
  
INT-CONTROL ROOM: Hemmington bows his head and begins to chuckle.  
  
HEMMINGTON  
  
I get it.  
  
SARAH  
  
Don't keep it to yourself.  
  
HEMMINGTON  
  
Upgrades. The Agents were upgraded.  
  
SARAH  
  
Merv said something too.  
  
TURKISH  
  
What?  
  
SARAH  
  
He said "Jones".  
  
HEMMINGTON  
  
Jones is an Agent.  
  
SARAH  
  
Why would he get someone to take the Oracle and not do it himself?  
  
HEMMINGTON  
  
Maybe he's been programmed not to harm her.  
  
MICK  
  
But in order to stop The One from becomming, he got The Merovingian to take her to keep her quiet.  
  
ANDREW  
  
Why didn't Merovingian kill her?  
  
HEMMINGTON  
  
He's tried that before, in Neo's time. She just found herself a new body.  
  
INT-CONTROL ROOM: Sarah breaks off from the group. She walks up on to a catwalk above the crew. She looks down at them appearing to have made a decision.  
  
SARAH  
  
I'm gonna go get her.  
  
INT-CONTROL ROOM: The crew looks up at her shocked.  
  
HEMMINGTON  
  
What?  
  
SARAH  
  
You heared me. I'm gonna go get her.  
  
HEMMINGTON  
  
Not without me you're not.  
  
SARAH  
  
Wrong.  
  
HEMMINGTON  
  
Wrong?  
  
SARAH  
  
I'm going alone.  
  
HELENA  
  
You're nut's you know that right?  
  
SARAH  
  
Its about the only thing I do know right now.  
  
MICK  
  
I hope you have a plan.  
  
SARAH  
  
Nothing short of doing whatever it takes.  
  
CUT TO. INT-CONTROL ROOM: The crew surrounds Sarah as she is once again lowered into a chair. Turkish is behind her. He leans towards her face.  
  
TURKISH  
  
Good luck.  
  
INT-CONTROL ROOM: He kisses her lightly on the lips. He quickly breaks off and shoves the plug into her head. 


	16. Nobody's Bitch

CUT TO. EXT-CITY STREETS, NIGHT: A light snow has begun to fall as Sarah, once again, exits the old hotel. She strides up to a waiting black sedan. She gets in and the engine starts up.  
  
CUT TO. INT-CAR, NIGHT: Sarah gets on her cell phone.  
  
SARAH  
  
I'm in.  
  
TURKISH(V.O)  
  
Reading you loud and clear. So, what's the plan?  
  
SARAH  
  
I think H said The Oracle was being held in the Train Staion. I guess I'm headed for a subway.  
  
TURKISH(V.O)  
  
Nearest station I've got for you is on Kingsville North by a little pizza place called Raoul's.  
  
SARAH  
  
Righto. Call you back.  
  
INT-CAR: Sarah hangs up the phone.  
  
CUT TO. EXT-CITY STREETS, NIGHT: The car pulls up next to the pizza joint. Sarah steps out of the car and heads for a nearby subway station.  
  
CUT TO. INT-SUBAY STATION STAIRS, NIGHT: Sarah begins to walk dow the flight. She stops halfway when a man gets in her way. Its The Trainman. He looks up at Sarah and smiles.  
  
TRAINMAN  
  
Going somewhere?  
  
SARAH  
  
Actually I was.  
  
TRAINMAN  
  
Where would that be exactly?   
  
SARAH  
  
Mobil Station.  
  
TRAINMAN  
  
Oh, I'm sorry, there's no station called Mobil in the city.  
  
SARAH  
  
That's odd, I could have sworn someone telling me there was.  
  
TRAINMAN  
  
Well, why don't you just turn around and head back to that dump of a ship.  
  
SARAH  
  
Because I still need to catch a train.  
  
INT-STAIRS: Sarah continues down. She reaches the bottom when the Trainman steps in her way.  
  
SARAH  
  
You don't want this kind of trouble boyo.  
  
TRAINMAN  
  
What makes you so sure that you are trouble.  
  
SARAH  
  
My bad attitude towards authority.  
  
INT-STAIRWELL: Sarah punches Trainman in the face. The Trainman takes the hit mildly. He rubs his jaw and stares down at Sarah.  
  
SARAH  
  
Oh shit.  
  
TRAINMAN  
  
Oh yeah.  
  
CUT TO. TRAIN STATION PLATFORM: Sarah runs in from the stairs at full speed. She arrives at the platform to find it empty. She looks down the tunnels. Sarah jumps on to one of the tracks and begins running.  
  
CUT TO. INT-SUBWAY TUNNEL: Sarah is now running as fast as ever. She can hear the Trainman's voice taunting her from behind.  
  
TRAINMAN  
  
There's no hole I won't find you in, no train I won't stop to find you on, no way out from this place. This is my dominion and you are my BITCH!!!  
  
INT-TUNNEL: Sarah stops running. She turns to fae the Trainman who she can see baring down on her. His pace slows as he nears her.  
  
SARAH  
  
What did you call me?  
  
TRAINMAN  
  
You heared me.  
  
SARAH  
  
I want you to say it to my face.  
  
TRAINMAN  
  
Bitch.  
  
INT-TUNNEL: Sarah punches him in the nose. He takes it hard but stares down at her with a bloody nose.  
  
SARAH  
  
For twenty six years, maybe, but not anymore.  
  
INT-TUNNEL: Sarah hits him again. Trainman staggers back.  
  
SARAH  
  
No human is anyone's or in your case, anything's bitch!  
  
INT-TUNNEL: Sarah jump kicks him in the throat. Trainman is a little more concerned now.  
  
SARAH  
  
Don't ever call a human that word again. Now, take me to The Oracle.  
  
CUT TO. INT-MOBIL STATION: The Oracle is sitting on a bench staring ahead. She hears a train coming and gives a little smile as she stands up. A subway pulls up to the platform. It stops and the doors open. Sarah gets off. She walks right up to The Oracle.  
  
ORACLE  
  
Good choice.  
  
SARAH  
  
So, what happens now?  
  
ORACLE  
  
We leave.  
  
SARAH  
  
What about him?  
  
ORACLE  
  
You've asserted yourself, he won't try anything now. Let's go.  
  
CUT TO. EXT-CITY STREETS, NIGHT: The snow continues to fall as Sarah and The Oracle walk up the stairs on to the streets.  
  
SARAH  
  
So, what, is that test of yours done now?  
  
ORACLE  
  
It wasn't my test dear, it was yours, and it is up to you when it will end.  
  
SARAH  
  
You really do know how to confuse the hell out of people don't you?  
  
ORACLE  
  
It will all seem clear soon enough. You just have to make up your own damned mind whether or not to see it.  
  
SARAH  
  
See what? Just tell me that! See what?!!  
  
ORACLE  
  
Yourself for who you really are.  
  
EXT-STREETS: The Oracle begins to walk away. She then turns back to Sarah.  
  
ORACLE  
  
I like you, don't screw up.  
  
EXT-STREETS: The Oracle turns around to see a door against a wall open. Seraph steps out. He motions The Oracle to enter. She leaves with him and the door closes. Sarah is now standing on the sidewalks looking a little lost. She gets out her cell phone and quickly dials.  
  
TURKISH(V.O)  
  
Operator.  
  
SARAH  
  
I got her out.  
  
TURKISH(V.O)  
  
How the hell did you manage that?!  
  
SARAH  
  
Just get me out of here.  
  
TURKISH(V.O)  
  
Okay. Ahah! There's an exit down the street in an old mom and pop hardware store.  
  
SARAH  
  
Alrighty.  
  
EXT-STREETS: Sarah hangs up and begins walking down the street at a fast pace. 


	17. Interference

CUT TO. INT-CONTROL ROOM: Turkish is monitering Sarah's progress when his Matrix feed fluxes. The rest of the crew are sitting in their chairs, but are not jacked in. They are just relaxing.  
  
TURKISH  
  
What the hell?  
  
INT-CONTROL ROOM: The crew's attention is diverted. Hemmington stands and jogs to Turkish.  
  
HEMMINGTON  
  
What's up?  
  
TURKISH  
  
Its an Agent feed but it looks like they're screwing with our systems.  
  
HEMMINGTON  
  
Call her.  
  
INT-CONTROL ROOM: Turkish types in a few keystrokes.  
  
CUT TO. EXT-CITY STREETS, CLOSE ON SARAH'S PHONE: It doesn't ring.  
  
CUT TO. INT-CONTROL ROOM: Hemmington goes to his chair and lies down in it.  
  
HEMMINGTON  
  
Plug me in.  
  
CUT TO. EXT-CITY STREETS, NIGHT: Sarah steps up to the hardware store's window and looks in. There is an older looking man on the phone.  
  
CUT TO. INT-CONTROL ROOM: Hemmington wakes up as Helena pulls the plug from his head. He sits up.  
  
HEMMINGTON  
  
Why the hell am I still here?  
  
TURKISH  
  
The line's been blocked.  
  
HEMMINGTON  
  
By who?  
  
TURKISH  
  
Must be something in The Matrix.  
  
INT-CONTROL ROOM: Hemmington gets off his chair. He goes to the centre of the room and paces until...  
  
HEMMINGTON  
  
Take us to the surface.  
  
TURKISH  
  
What? Why?  
  
HEMMINGTON  
  
Maybe we can boost our brodcast strength if we're close to the power plants.  
  
TURKISH  
  
Worth a try.  
  
INT-CONTROL ROOM: Turkish gets up and heads to a ladder.  
  
MICK  
  
But what about The Machines, they'll tear us apart.  
  
HEMMINGTON  
  
No they won't, the ship's serial number has it being registered to Zion.  
  
HELENA  
  
They won't shoot at a ship from Zion.  
  
ANDREW  
  
They've been progammed not to.  
  
CUT TO. INT-DIONYSUS, COCKPIT: Turkish sits in a pilot's chair and puts on his headset.  
  
TURKISH  
  
Beginning pre-flight.  
  
HEMMINGTON  
  
No time.  
  
INT-COCKPIT: Hemmington sits in the seat next to Turkish. Turkish types in a few keystrokes on a pad on his lap. The sound of power coursing through the ship can be heared. Turkish takes hold of a pair of joysticks. He pulls them back.  
  
CUT TO. EXT-TUNNELS: The Dionysus lifts up off the ground and begins to glide down the tunnel.  
  
CUT TO. INT-HARDWARE STORE, THE MATRIX, NIGHT: Sarah knocks on the window. The shopkeeper turns to her.   
  
SHOPKEEPER  
  
We're closed!  
  
SARAH  
  
I need to use your phone.  
  
SHOPKEEPER  
  
I said we're closed! Fuck off!  
  
EXT-SIDEWALK: Sarah raises her eyebrow and gives a smarmy look of defiance.  
  
CUT TO. EXT-TUNNELS, REAL WORLD: The Dionysus flys through the tunnels at full speed. At one point she makes a sharp turn upwards.  
  
CUT TO. INT-CONTROL ROOM: The crew have strapped themselves into their chairs. Andrew is at Turkish's console.  
  
CUT TO. INT-COCKPIT: Hemmington and Turkish are being jostled around hard. Turkish speaks into his headset.  
  
TURKISH  
  
How's the link?!  
  
ANDREW (V.O)  
  
Little stronger, but not enough for a solid lock!  
  
TURKISH  
  
Uh oh.  
  
HEMMINGTON  
  
What?  
  
TURKISH  
  
We're approaching the surface.  
  
HEMMINGTON  
  
Oh boy.  
  
TURKISH  
  
I hope she gets to a phone soon.  
  
HEMMINGTON  
  
She will.  
  
CUT TO. EXT-SIDEWALKS, NIGHT, MATRIX: Sarah picks up a garbage can. She walks to the window and throws it through. The shopkeeper is stunned.  
  
CUT TO. INT-HARDWARE STORE, NIGHT: Sarah steps through the broken window. She has a complextion of frustration. She walks to the shopkeeper. He stares at her, shaking.  
  
SARAH  
  
My I please use your phone sir?  
  
SHOPKEEPER  
  
Sure.  
  
INT-STORE: He hands Sarah the phone.  
  
CUT TO. CLOSE ON PHONE: Sarah hangs it up. There is an odd, shimmering, distorted shreech. Suddenly, a man's arm swings out of nowhere and smashes the phone. Sarah looks up and sees Agent Jones staring at her, smiling. 


	18. Jones' Vendetta

CUT TO. EXT-BARREN FIELDS, REAL WORLD: The ship comes out of a crevice in a wall of rock. It glides over the fields towards several massive cylenders rising up from the ground. Near to the cylenders are fields of mechanical looking trees with pink, fleshy bulbs attached.  
  
CUT TO. INT-COCKPIT: The entire crew is inside. Turkish stands up.  
  
TURKISH  
  
I'll moniter.  
  
HEMMINGTON( in a daze)  
  
Okay.  
  
INT-COCKPIT: The crew looks out over the fields and stare in awe at the power plants towering before them.  
  
CUT TO. INT-HARDWARE STORE, NIGHT, MATRIX: Sarah backs away from Jones. Jones follows her from out behind the desk. He takes out his Walther P99 and pulls it across the counter.  
  
JONES  
  
Ms. Burns. I would have though I would never have to look upon your face again.  
  
SARAH  
  
Yeah. I bet it's tourture enough looking in the mirror.  
  
INT-STORE: Jones raises his gun. Sarah takes out one of her many weapons. They both fire at eachother and they both skillfully dodge eachother's bullets. After each of their clips are empty Jones looks at Sarah in shock.  
  
JONES  
  
That's not possible.  
  
INT-STORE: Sarah throws away her gun and rushes Jones. They begin to fight hard.  
  
CUT TO. INT-COCKPIT, REAL WORLD: Hemmington stears the ship around the power plants.  
  
TURKISH(V.O)  
  
I've got her!!!  
  
HEMMINGTON  
  
Get her an exit!  
  
CUT TO. INT-CONTROL ROOM: Turkish begins typing. He turns and faces Sarah when he hears her seat jostle. Sarah jerks and spasams like she is being punched and kicked.  
  
TURKISH  
  
Oh shit.  
  
CUT TO. EXT-STREETS, NIGHT, MATRIX: Sarah flies out of the building. She skids across the street and comes to a halt at the opposing sidewalk. Jones steps out of the building.  
  
CUT TO. EXT-ROOFTOP, NIGHT, MATRIX: Brown steps up to the ledge. It begins to snow.  
  
CUT TO. EXT-STREETS, NIGHT: Johnson steps out of the nearby allyway behind Sarah. She gets up and looks at the trio of suits.  
  
JONES  
  
There is no way out of this. We are going to kill you, it is a mere matter of time.  
  
SARAH  
  
Boy, ever though that it may be a good idea to just shut the hell up?  
  
EXT-STREETS: Sarah spins around and kicks Johnson in the face. The Agent takes it lightly. His head snaps back then her looks back at Sarah.  
  
SARAH  
  
You're shitting me.  
  
EXT-STREETS: Johnson lunges at Sarah. She backflips high into the air and into a building.  
  
CUT TO. INT-OFFICE BUILDING: Sarah smashes through the glass and lands on her feet. She looks over the room and hears that mechanical screech. Suddenly, Jones stands up from behind a cubical. He shoots at her. Sarah runs to the edge and sees Johnson. She looks up and sees Brown. Sarah takes a great leap forward into the building across the street. Jones follows suit.   
  
Brown runs along the roofs and Johnson chases from ground level.  
  
CUT TO. INT-COCKPIT, REAL WORLD: Hemmington looks ahead. Suddenly alarms go off.  
  
HEMMINGTON  
  
Stay cool, they should still think we're from Zion.  
  
CUT TO. EXT-POWER PLANTS: The ship is now hovering in front of the pylons. Suddenly, from above, three mechanical things drop. They look like giant, armor plated cockroaches with eight long tenticals extending out behind. These are sentinals. They look at the ship with three bright red eyes each. The centre eye turns green and scans the ship.  
  
CUT TO. INT-COCKPIT: Hemmington looks concerned as the machines do this.  
  
HEMMINGTON  
  
What is this?  
  
HELENA  
  
I think we've been made.  
  
HEMMINGTON  
  
Get on your guns, now! Turkish, did you call her?  
  
TURKISH(V.O)  
  
I'm on the phone now.  
  
CUT TO. EXT-BUILDING, NIGHT, MATRIX: A window explodes, centre frame. Sarah flies across the screen.   
  
CUT TO. INT-OFFICE BUILDING: Sarah smashes through the window and lands on her feet. She is about to keep on running when her phone rings. She begins to run. She picks up her phone.  
  
SARAH  
  
This better be good!  
  
TURKISH(V.O)  
  
I've got an exit! Clearview High. About one click north.  
  
CUT TO. EXT-BUILDING, NIGHT: Sarah spins in the air and falls to the street. Jones follows. He lands in front of Johnson.  
  
JONES  
  
I'll take her!  
  
EXT-STREETS: Johnson stops running. Jones continues in hot pursuit.  
  
CUT TO. EXT-POWER PLANTS, REAL WORLD: The sentinals stop their scans. They take up positions around the ship.  
  
CUT TO. INT-COCKPIT: Hemmington watches the squiddies and makes a decision. He activates the headset.  
  
HEMMINGTON  
  
Alright folks, hope you've got your lunch stowed away.  
  
CUT TO. INT-CONTROL ROOM: Turkish looks up at the nearest speaker box.  
  
TURKISH  
  
What the he...  
  
INT-CONTROL ROOM: Turkish suddenly lurches forward.  
  
CUT TO. EXT-POWER PLANTS: The ship makes a nose dive. The sentinals give chase. The ship begins fireing at the squiddies.  
  
CUT TO. EXT-HIGH SCHOOL, MATRIX: Sarah smashes through the front doors. Jones follows her in.  
  
CUT TO. INT-SCHOOL, NIGHT: The student commons is a large room with long tables and many chairs. The ceiling is very high and topped off with a round, parabolic window formation. The commons is accessed by stairs and ramps on all sides. Sarah runs in, past the main office, to a trio of payphones, one of which is ringing. Sarah grabs the ringing phone and puts it to her ear.  
  
CUT TO. INT-SCHOOL, NIGHT, BULLET TIME: A single bullet ripples towards the phone cord. The bullet tears through it.  
  
CUT TO. INT-SCHOOL, REAL TIME: The receiver snaps back. As does Sarah. She steps back from the phone and looks at the doors. Jones stares back at her.  
  
SARAH  
  
You could have hit me. Why did you miss?  
  
JONES  
  
I never miss.  
  
SARAH  
  
Then why did you hit the cord and not me?  
  
JONES  
  
Because Ms.Burns, I wanted to feel gratifacation while I am choking the life from your body.  
  
SARAH  
  
A.I with homicidal tendencies.  
  
JONES  
  
No, just purpose being served with extreme satisfaction.  
  
CUT TO. INT-COCKPIT, REAL WORLD: Hemmington is manuvering wildly.  
  
HEMMINGTON  
  
Is she out?!  
  
CUT TO. INT-CONTROL ROOM: Turkish looks concerned.  
  
TURKISH  
  
No! An Agent wasted the line!  
  
HEMMINGTON(V.O)  
  
God fucking dammit!!! Her phone?!  
  
TURKISH  
  
The Agent must have a jamming signal in place.  
  
CUT TO. INT-COCKPIT: Hemmington continues to listen while he is manuvering his way around the power plants.  
  
TURKISH  
  
Until he's out of the picture, she's stuck in The Matrix!  
  
HEMMINGTON  
  
Well, for her sake and ours, prey she gets him out of the picture.  
  
CUT TO. INT-SCHOOL, NIGHT, MATRIX: Sarah takes off her red coat. She stands facing Jones. They both clench their fists. Sarah begins to run. Jones runs. They slam into eachother and begin to fight. Jones delivers fast, precice blows. Sarah takes some, blocks some and dodges others all while delivering sudden strikes to Jones' face and torso.  
  
CUT TO. INT-SCHOOL, BULLET TIME: Jones kicks Sarah in the stomach. His foot nearly tears her in half.  
  
CUT TO. INT-SCHOOL, REAL TIME: Sarah is sent sailing into the student commons. She slams through the chairs stacked on the tables. Jones steps up to a flight of stairs. He walks down them and into the commons.  
  
CUT TO. CLOSE ON SARAH: She is shivering from shock and is badly bruised and bloodied.  
  
CUT TO. INT-COCKPIT: The ship rocks hard as Hemmington tries to maintain control.  
  
HEMMINGTON  
  
How is she?!  
  
CUT TO. INT-CONTROL ROOM: Helena is cleaning up blood dribbling out of Sarah's mouth. She looks to Turkish and shakes her head.  
  
TURKISH  
  
Not too good. She's going at it with an Agent!  
  
HEMMINGTON(V.O)  
  
What the fuck is she thinking?!  
  
TURKISH  
  
Probably that she is The One.  
  
CUT TO. INT-SCHOOL COMMONS, NIGHT: Sarah looks up at the ceiling. Outside, the wind has picked up and so has the snow. She looks at Jones. He is standing over her. Jones grabs her throat and lifts her into the air. Sarah is hitting Jones' arm. Jones is smiling as she does this  
  
JONES  
  
I find this disappointing. I was expecting more from you.  
  
SARAH  
  
Who said I was done asshole?  
  
INT-COMMONS: Sarah pivots in Jones' grasp. She kicks him in the face and knocks off his shades. Jones lets her loose. He takes a couple of steps back. Sarah gets to her feet. She jumps high into the air and lands on the opposite side of the room. She picks up her coat and puts it on.  
  
CUT TO. INT-CONTROL ROOM: Turkish watches the events within The Matrix unfold. He smiles.  
  
TURKISH  
  
Kill that asshole baby.  
  
CUT TO. INT-COMMONS, NIGHT, MATRIX: Sarah turns to Jones. She takes a powerful stance and gestures with her hand for Jones to attack. Jones gnashes his teeth and clenches his fists.  
  
CUT TO. INT-COMMONS, BULLET TIME: Jones runs towards Sarah at full speed. In his wake, all the tables, chairs, trashcans etc... are being thrown into the air. He arrives at Sarah and they continue to fight.  
  
CUT TO. INT-COCKPIT, REAL WORLD: Hemmington is sweating porfusely as he dodges, now, an innumerable amount of squiddies.  
  
CUT TO. EXT-POWER PLANTS, REAL WORLD: The sentinals begin to take hold of the Dionysus. They begin to cut into it with lazers. The ship steers closely to the ground.  
  
CUT TO. INT-COCKPIT: Hemmington looks pissed.  
  
HEMMINGTON  
  
Is she out yet?!!!  
  
TURKISH(V.O)  
  
No not quite!  
  
HEMMINGTON  
  
Fuckn' shit!!! How is she?!!  
  
TURKISH(V.O)  
  
She's taking one hell of a beating!!  
  
INT-CONTROL ROOM: Turkish looks over at Sarah. She sputters blood from her mouth. She snaps her head sideways and a large, purple bruise forms.  
  
CUT TO. INT-SCHOOL, NIGHT, MATRIX: Jones grabs Sarah by her neck and throws her down a hall. She slams into a series of lockers causing a large dent. She looks up to find Jones baring down on her again. Sarah gets to her feet, runs a bit, then kicks off the wall and flies over Jones. Jones sticks out his hand and grabs her ankle. Sarah screams in pain as her ankle is crushed by the Agent's might. Jones drags her back into the student commons. He hoists her up to look her in the eye.  
  
JONES  
  
Facinating, so much damage, yet you continue to fight the inevitable.  
  
INT-COMMONS: Jones throws Sarah up high. She slams through the ceiling, allowing thr snow storm outside to pour in.  
  
CUT TO. EXT-ROOFTOP, NIGHT: Sarah falls into frame. She rolls on to her back and stares at the snow. Her eyes go wide as she begins to remember something.  
  
SARAH  
  
My dream. 


	19. The One

EXT-ROOFTOP: She reaches under her coat. Jones lands on his feet behind her. Sarah whips out two large calibre, automatic weapons. She fires them into Jones. Jones ridgedly dodges each shot. Sarah empties her guns and Jones stops dodging. He straigtens his tie and smiles wryly at her. Sarah stammers to her feet. She looks at Jones and smiles a bloody smile. Jones is caught a little off guard by this.  
  
SARAH  
  
Don't fuck with a human woman.  
  
JONES  
  
But human...  
  
SARAH&JONES  
  
...none the less.  
  
EXT-ROOFTOP: Jones and Sarah clench their fists. They move toward eachother and continue to fight harder than ever before.  
  
CUT TO. INT-COCKPIT, REAL WORLD: The ship lurches forward. Hemmington dodges around the last of the power plants.  
  
HEMMINGTON  
  
We just lost three pads!!! HOW IS SHE?!!!  
  
CUT TO. INT-CONTROL ROOM: Sarah shudders, twitches and sputters more blood. Her bio-signs go flatline. Turkish throws off his headset and runs to her. Helena and the others look at him, panic stricken.  
  
HELENA  
  
What the hell are you doing?!  
  
ANDREW  
  
I've got it!  
  
INT-CONTROL ROOM: Andrew rushes to assume to operating duties. Turkish holds on to Sarah, a tiny tear runs down his cheek.  
  
CUT TO. EXT-ROOFTOP, NIGHT, MATRIX: Sarah lands not far from where she stood. She has three bullet holes in her. Jones walks up to her. Brown and Johnson step on to the roof from a nearby ladder. They too walk up to Sarah. Jones bends down and takes her pulse. He smiles victoriously as he erects himself.  
  
BROWN  
  
I am satisfied that it took less time than originally expected.  
  
JOHNSON  
  
I too am pleased with the results.  
  
JONES  
  
None more so than I. She caused much aggrivation in me.  
  
EXT-ROOFTOP: The Agents turn and walk away. Looking at the Agents' faces, one can see Sarah lying dead behind them. They take a few more steps. Sarah is now standing, staring at the Agents.  
  
CUT TO. INT-CONROL ROOM: Turkish jolts as Sarah begins to breathe. He looks to the Matrix feed. The code begins to fluxuate and churn.  
  
HEMMINGTON(V.O)  
  
What's happening down there?!  
  
INT-CONTROL ROOM: Turkish stares at Sarah. He smiles.  
  
TURKISH  
  
She is The One.  
  
CUT TO. EXT-ROOFTOP, NIGHT, MATRIX: All of Sarah's wounds have disappeared. She looks at The Agents.  
  
SARAH  
  
Hey, assholes!  
  
EXT-ROOFTOP: The Agents draw their guns as they turn to look.  
  
ANTIGONE  
  
My name is Antigone, and I am nobody's bitch!!  
  
EXT-ROOFTOP: The Agents fire their guns. Antigone puts out her hand. The bullets stop right in front of her. The Agents lower their weapons. Jones is really pissed. He takes a run for Antigone. He begins to throw punches. She blocks every one of them as though they didn't exist. She grabs his wrist at one point and pulls him close. Jones looks scared.  
  
ANTIGONE  
  
I told you not to fuck with a human woman.  
  
EXT-ROOFTOP: Antigone grabs Jones' throat and throws him into the air. Antigone gathers her strength and jumps.  
  
CUT TO. MID AIR, NIGHT, MATRIX: Antigone is headed straight for Jones as he falls.  
  
CUT TO. EXT-MID AIR, BULLET TIME: Antigone clenches her fists as she tears through Jones. Streams of green code stick to her as the green ghost of Jones is pulled from his body.  
  
CUT TO. EXT-MID AIR, REAL TIME: Antigone hovers in mid air as Jones' body falls. She takes a deep breath as streams of green code run down her body. The code becomes brighter and brighter. Soon there is a bright green aura all over her. She puts out her hands and she falls back to the building.  
  
CUT TO. EXT-ROOFTOP, NIGHT: Brown and Johnson are still standing in their place as Jones' body slams into the roof. He shatters into a million green shards that rain down all over the Agents. Antigone lands in front of them.  
  
CUT TO. INT-CONTROL ROOM, REAL WORLD: Andrew is taking orders from Turkish.  
  
TURKISH  
  
Call her, tell her to get to a small apartment complex two miles off.  
  
ANDREW  
  
Righto.  
  
CUT TO. EXT-ROOFTOP, NIGHT, MATRIX: Antigone hangs up her cell phone. She moves to the edge of the roof. Brown and Johnson are still standing. Antigone takes one last look at the Agents.  
  
ANTIGONE  
  
Leave.  
  
EXT-ROOFTOP: The Agents look at eachother and run away.  
  
CUT TO. EXT-ROOFTOP, BULLET TIME: Antigone, once again, gathers her strength and leaps high into the air.  
  
CUT TO. EXT-TUNNELS, REAL WORLD: The ship has lost most of the squiddies but about thrirty remain to continue the assult on the Dionysus.  
  
CUT TO. INT-CONTROL ROOM: Turkish stares at the Matrix feed on his computer. The code begins to flutter, then, returns to normal. Antigone wakes up and Helena pulls the plug out of her head. Turkish gets on his headset.  
  
TURKISH  
  
She's out!  
  
CUT TO. INT-COCKPIT: Hemmington's hand has been sitting on a trigger most of the time.  
  
HEMMINGTON  
  
Good girl.  
  
INT-COCKPIT: Hemmington pulls the trigger.  
  
CUT TO. EXT-TUNNELS: The Dionysus spins in the air and quickly shuts down. The ship emmits a massive wave of energy that ripples out from the hull and proptly shuts down all of the sqiddies. The ship rams into the tunnel floor and come to a skidding halt.  
  
X-FADE TO. INT-CONTROL ROOM: Turkish looks around the room. Everyone is alive. He moves to Antigone who is lying against a wall. Her wounds from her Matrix fight linger. Turkish leans down to her face. Antigone looks up at him, staring at him through a pair of bloodshot eyes. She smiles weakly.  
  
ANTIGONE  
  
You never took your eyes off me.  
  
TURKISH  
  
And I never will.  
  
INT-CONTROL ROOM: they move closer to eachother and kiss tenderly.  
  
(FACE OUT) 


	20. Antigone's Decree

(FADE IN)  
  
A city in mid day.  
  
CUT TO. EXT-STREET LEVEL: People go about thier business. Walking, talking on phones and to eachother. Most of the crowd walks toward the camera. One woman in a long red coat is walking away.  
  
ANTIGONE(V.O)  
  
Now you know about us, our city and our obvious intentions. I am aware of what purpose you have for me. I tell you now, I have no intention of fufilling that purpose. I am going to tell you exactly what I am going to do. I am going to show these people what you don't want them to see. A world without borders or bounderies, a world where anything is possible, a world without you. I can assure you, I will destroy you all.  
  
CUT TO. OVERHEAD VIEW OF THE CITY, DAY: A small red speck rushes towards the camera. As it gets closer, one can see Antigone. Her hair and coat ripple behind her as she zooms towards the camera. She stares forwards through a pair of dark sunglasses with a faint smile. She quickly flies out of frame.  
  
(CUT TO BLACK) 


End file.
